ge6r ON] YAHOSIY TAY WHOA MIN ‘NNIM “I HIIda Ag ONIAVIE NITOIA NUSCOW ‘BAILVINGS “AMAA AO SONIHOVAL ISE@ AHL Noan CasVa ‘SAIGALS SARL AOLLOVUd OL MOH AO SISATVNV JALMAMOsaa ‘axTIviga ¥ YUAZLONAUA AGNLS OL MOH no Moyo’ “ayors wy¥aro} oy SuLrayseUL aya ax0138 351M 9Y sR JO" OT 241 Jo appRU ays ye Burmoq oywooids ur ydooxa ‘aiqissod 31 SjoFis aya wodn JeSug yung ayy doy skempy are ay) Spreaoy quingy 941 pudg, ‘QAIND W UL Y914S Oy} JO APIS 10 doy ay2 Wo so8uyo1oy ay3 {soy “UBM otf) UL SFOS hog O42 YHA JorresEd SOP|ONT, ayy doy “soSuy as1} 943 Jo IIL PuooDs oP YALA yous oy2 vodn val you og “sxoSuy psry3 pow puosas ays jo Syutof Puodas ays ssaidoq ssoSuy pur ‘'sop|ONUy ‘gstum Jo aamo goojod B eAsaEarg “sopfonuy ays UeYI arousing ystzav ou} ares “ANE v sv “Jou oq | “paasno AUEES Bufoq oui owes ayy 3 yum oy xvjox isnUT xog] ay] ‘uonedoouds Suumbar siumoq pus ‘ovwo0vIs ‘sttimoq paunys yxou ‘geo oy Jo ajdrourd oy 3xou foyorys snozo3ia pue pjoq v asn Sify “moq 22 Std Jou ‘use pu puey 3YSix ayy TIEN UmMOp seq IU OC] “suoysues3 SUIS uy 9U0} Jo aTueYD om pue paomposd ou0z Jo Nowe 9143 UE LONUTUNP ow st axOyT YY 9g “aUOy jo awnjoa puv Aqumd wey? LOTIeTapsstIOD ssa] Jo St paads ‘yBnoya[e “oyppws ayy 07 3u1od 943 wosy Aypides ssvd ysnur dug “yzom adessed prdus up wopoosy We Jo 970038 uO, ~epunoy ou st Buzw0g tureaI0} 9% ‘Guamog wuno40. -aiddns pue “quapaqo ‘Iy84y wise oy oxoUE THA BONE -moq Suns3s fjasooy ‘sse[a ue YyEM Pourergo Ayiswa ax0UE yoru aq wes wopeayy ieqp vorudo Aur st 4. “peur 2q wes ques uxaj ‘YoInb ve yy) JepsO uy Aq BuNTS Apysn v asn sromoyfoy joouos youory oyy, “papresar “stp 94 30u pjnoys «20g 94} JO WOISUOy ay, ISHN oa JO uolssaidap ou 20 apayt[ TeOOApE Pinow J “Yuod ays 3e Sut -heyd wayyy "Joay PUL yUIod oy) ye YBKY 009 St ISIEA BI Aqerouay, “Suzsoq JO Troy poyesosFexo WE JO ISLA YRS v Jo uoneorpur aqeuwaur ue st smyy, ‘Buus Oy ‘wosy sdvay 30 sdoy 204 23 YwUr_PaAsosqo woo st I] “paasasqo aq ysnur aSpuq ayy qa [rere Burke jo uqey v Sumy 01 uoNUONE PRY “oyons ay} Jo Sunuws oys rye ayerqra o7 Burris 242 AOTTY “punos Surtiq yoys & UT ayONS Yow Yu suIBoq VoresqrA [ny yey Toa os Ye “Buzwoq yno-weop sonporg ‘uonssod atoq urmtreur ‘01 ajqissod poads 3S0qvex8 943 NAZLNTWA AGNI OL MOH 8Copyriar, 1910, By CARL FISCHER onal Copyright Secared HOW TO 7 nce has shown that intonation is of prime importance, varieties of bowings being secondary. Play slowly and surely, watching both left hand and right, hand; sing tone, and transfer smoothly from position to position. Memorize the exercise and practice it in its entirety with the varied bowings Good habits will last through life. To guide teachers who have themselves not studied Kreutzer thoroughly requires an analysis of bowings. The Whole Bow. — Play the exercise entirely through without the vibrato, using a slow, broad, even tone. Now press lightly upon the bow-stick, relax almost instantly and draw the bow swiftly to the point in an imaginary plane, with as little tone as possible. Repeat this stroke from the point, This is the principle of the martelé bowing. Speed is not important. Freedom and relaxation of the entire arm must be first considered. Observe the beginning and end of each stroke. See that there is no diminution in the amount of tone produced when playing a pure legato. When playing martelé, draw the bow so quickly over the string that freedom comes entirely without continuous pressure. Define a whistling tone, a tone that sings, and a tone of even pressure. Quality comes first and volume will follow. Cross the strings with a somewhat high arm, keeping the fingers on the strings as long as possible. ' There must not be any break in string transfe Now, a few words with regard to quality of tone. Play on the edge of t+ hair. Do not press on the stick unduly and make the upper arm serve the forearm and wrist, except in chord playing and the slurred staccato in the middle and lower half of the bow. I believe that the command of a beautiful legato depends upon the strength of fingers, the command of positions and freedom of the left hand, rather than upon bowing. Slurred bowings are absolutely indispensable in orches- tral, quartet, and solo work, If speed is to be obtained, cacry the martelé principle into the grand détaché of the French school. Play each note with the full bow at"NMONM WFAG ZAVH 1 SNVIOISOM HOAOWOHL ISOW AHL 40 ENO ONY MAZEATMY, JO WaUOVAL IsaaXaos aHL ‘taaghng amg 40 AUOKAN aHL OL ySeooe ‘onvmome ouzoaq Atpeyqnopun sey oTuyoa} oq ‘SuuMog Ur sayeysrur nO dsIOFOxO aanue oy Avjd two suo pus ‘pauuyuoD av syqey Pood wayM, “souvpodust asoavaud ayp Jo sadioutsd Jo Aroyseu ayy 0% pe] YorysA SBuLwoq asoyy £IUO yoa[as ‘axoJox0y ‘pmoys saqova asim Aaaag -sodeld ay1 Jo own aya ue opnty ay Jo anes axj1 0) uorzodosd Jo yo st qressEy, Aq wears sfutmoq Jo soquine yy, ~39y49q a7} YonuT os ‘Aayy Jo puasur sajduexe oay-Kyuow) yim sq} op ue ou0 Jt puE ‘yoos om qeyr sopdound Jo Azo IseML e St IE ‘ssojoysiaay “oTuyIex Aioq Jo TuuINbse oy ur capa gua|feoxe UB st astoroxa sry Bq? Wods PMow ¥ ‘s1O}LLAN quaraytp Aq pasn s8uznoq Jo Joquinu aBre oy woay “saipmis APAOS oy. YEA yuaurayddng ‘sSurmoq pauea sapsoard sXeaye onnyooy puey-3yo] Jo Asyseur oy], ‘coud opt Suipys Aressavauun qnoyqn sou yw yyRHos aq pMNOous uoTIsod mou YoRg “puey yp Yr saaour qunyy aYZ, “ash soy Kpear pur sBuuns ey2 Joao payore ssafuy ai deoy “aoaysoed st uoneu -oVU ay [HUN sFuLOg OUTS YIEM asroxoxa ou do1OwIg sAressavou pun Sus ay oAta, Pinoys sosuy ‘oN, -oypeay amp 70 uopataeyp ax ve paonparay aq Kea SBuyaioq jo suit0y 29419 —: SION ‘We -2a1dg “mog-umop pun Gn 709 yim posyprnad 79 OL ES LE AZLATUX AALS OL MOH 9NNN oe 1D qa ee es p= Sth pope ty es SERRE] ee eES>Eeeee| ee: Pac S iE Bs i ewe:a -Adeoxa you ‘souaystxo wt sorpnis Zurmog Jo 498 ag2[du09 ue ayenbape rou! ay3 BuO oaif sSusmog coor 943 Inq ‘ 5085 uaredde “pueq weoyroury Jo spade ayy ans 0} pa uA “yxom (uoreredasd “peoiqe oryrey Ss 10 “UL Ur som A Pinoo om, ro8e Bu suoyy, “peorqe sprepueys ySty owes -s0joud axedaid 07 mou or se 1 YIEN ‘uoIs 305 sqtrapnis Ouauy Sursnq, Kyouonxa st 4] “DVAgaud ARAB AD eee dda, We = SaanauS wa st song di 26 papery ae Sane 4 ag “4 OF or fap ee fe Th eee eee ere, dy OT WAZLAGWA AGALS OL MOH ’vi PREFACE. ing the Tartini Art of Bowing’ which, profound and artistic as it is, was but a model for future imitators. The study of Kreutzer should naturally be preceded by the study of the works of Hans Sitt, Dont, Mazas and other writers who have thoroughly understood violin progress from the standpoint of the painstaking and careful teacher. ‘These studies are, with the exception of Mazas’ Etudes brillantes? not inspiring; nevertheless they are practic inistic and thorough. With the additional equi; Sevcik 4ooo Bowings and my Three Octave Scales with varied bowings, in the fourth or fifth year of study, the earnest student is well equipped for Kreutzer. He’ need not spend, after th tudy of the first twelve fassart. It is probable edge of bowings is very comprehensive and that he has a free forearm and ‘wrist. I say he, though it is a k in students, but few boys carry on the fifteenth or sixteenth year. juestion comes, “Why do our young men teurs?” They go to col when they are sixteen or seventeen years of age, and HOW TO STUDY KREUTZER. 3 ETUDE NUMBER 2. Allegro molerato, This étude is the most important of the first twelve , bowing, and technic oun,a afd saomnasy “y Sustpmis fo uy o0r ¢ ‘ (a9 BOX AON oper ep) asnazy sof aundeug of mofy WO 4004 Kut 398 aos esse yy op aq Pinoys Yn ayy Jo SJuaWaAoU jeOMeEpUNy omy YL “stwouraaour o[greey ‘Iy31] Jo afqedeo su owes ayy ye ‘Buons pue way oq pinoys tse 40g 243 ‘puodag aqqixoy sv qf se posiod-tfom pure poxejor sxoduy oy3 ‘ajddns 947 Fur -daay, Jo £1 (1 AyBuoays 003 ofan youuts | “Yor ~euojut yo Atasns oy yg sazopzoqUr sty], “OPRICEA aU. jo ash oy} uodn qsisur oym squopnys Auvur are aroy, oygzor ue sez mmary yo 2T Buys yous yo ound 243 Surwoyjo3 pur Apoq ayy woxy premgno admo B Suquosop wae saddn, 24} gpd 0} afPpRE wos “yno om pur Pays sajou om) puis ‘gynigp puvad ayy sonowid osiy “a|qissod se sey ou Jo A8p9 ay svau se daay 07 Suratns “ureas0y 949 Jo ayou3s pides B yz apnip sty sorigesd “Suznog yen 2x0 pool ¥ Jo UONBALND Jo suvau w Sy “soutDaq ayouis oy1 F9U0YS oy} ‘poods Jo yes oy2 sOyBIy OU, 2310338 40140] 94 OSIAPE yOu OP 1 “Apyeusoye atey oy Jo afpprur pure a8ps aya wo 2q ganur aqox3s oq ‘posn st Ayuo tuxeaso} ay JI “903 But stim PUB “ULBaIO} ‘sapMOYs ayy “dAD aq ysnUT oyOIR3 ay} ‘pash st sey oy 0 apa oy? J] “aiou v ywadax you. og “Buns axojoq Zunys a3 vo Atuva oq ays aoeid ang. fot pue ay op Appa wexp ou og “quod oy qe Avid “e1qunqea Az9a st ou0 siya ‘Apnas goymue sy sqissod Jf siauy oy3 ye dang “wor, aug Jo aoou oy wary ano ysLLM aq} AMOx4Y Jou op ‘gf pu Uf "gf ‘SE somseaur UT suorsustxe Jo3uy-YpInoy yy Uy aay A104 SuIIq qumny? oy “Isiua paxvjas® ya prwoquoluy 943 s9A0 ways yorass ‘a[qIs -sod se 3u0] se sBuuys oy2 uo sxaSuy aya daoy “yea Ara 81 Jor3UoD sofluy Jo uostad 105 apnap sty} Jo anjeA HLF SAPMIS 9AM SQPAPETYS pur soxpnys yA aut ose ‘sezeyy pue yuo] Jo SrpNyS sHLIUNS AatAoT POA 1 “SHA ay2 Jo Kyuoyxop ywaLF saumber opnay sty, — “* puurieddn 10 diy, “goss ossenny “4 MGEWON aang WAZLORA AGOIS OL MOK orane === “gget ree tee This étude is only valuable as a supplementary trill study. The rhythm is more easily mastered than in the first two or three trill études. If the upper half of the bow is used, one must be especially careful of intona- tion and accentuation of the first note in every group of four. Practice the up-bow accents, which are usually inclined to be faulty. Relax the pressure upon the bow- stick as soon as possible after the trill note. would not use new forms of bowing, as the étude is only valuable from a technical standpoint. I would now review all trill études, in connection with a study of the porta- mento and’ of tone graduation as found in the slow movements of such concertos as the Rode Eighth and Seventh and the Viotti Twenty-third and Twenty-eighth Perhaps it would also be a wise plan to take some of the slow movements in the Viotti and Spohr! Duos. ETUDE NUMBER 23. I usvally omit this étude, preferring to use cadenzas as found in modern concertos. It might be wise, how- ever, to explain to the pupil the cadenza form. I would refer to the beautiful cadenzas of Joachim and other great artists. 4. Spohr, Three Duos, Op. 3. Published by Carl Fischer, New York.” Price 75 cents. HOW TO STUDY KREUTZER. 25 If students are sufficiently musical, and aiming to be professionals, the musical content of this étude should be thoroughly understood, and they should write the fundamental chords upon which these arpeggios are based, ETUDE NUMBER 11. Andante, Lee fe. . fete ttene Gea Rieter bert = - L i. I have found the eleventh étude one of the most valuable in violin literature. For the study of the legato and change of positions it is without an equal, It may seem unfortunate that it is written in the key of E major, but I believe this enhances its value. The legato should never be disturbed by the shifting from string to string, for the relative positions of the fingers should at once be considered. I sometimes oblige students to practice this étude mentally without the use of the bow, in order that the shifting fingers may be closely watched. The thumb should be absolutely free from the neck of the violin, all the weight being taken by the chin, The thumb and hand move together,onmarpoyt ‘2 YGGNON AGA “moq wMop ay 2 ons-aoq ay uodn ainssoxd sures 9p aloUr Sy pry? 5 50 atog ayy Jo Wod ayy 3e OFLODNIS 1 uy days ajoya aya qara days yrey ous osny gng00 Sou Jey YSyA UE Samseou Ur ureyureus 0 jyosva Aion og “paszoqasd are ‘ajou LOMOy ayy yam SurmmBeq ‘ung oy) ImoysA spy om. yey adeoxa ‘apmag ayy Jo pres Hy] AIA St OUOUT, -soyzo80[@ apnip sty? UO siayoue, oWOg “sin puv 520m uorsod wy Sutures} yePads oAteoar srOBUy yunoy pue pimp ea, punoy iqujuvo aind v J quowdopaaap oy} Ur onyeA OW I 13 sBusnoq oyeoovIs poyoerap yim podeld sr a yeyR OUf oy} ‘STE uoYs Jo Apnys B sv [Gunpea Az94 ay ‘suonipe zadtg pue uupMoY ony uF xz pure ‘uonpa ssory aya ut LT ‘oz ‘ON SF apnap s1qy orNpa ozmmary, yeu! “opvnsnue suguuss 2 opvsrpopy We YTENAN aang of AWIZLATA AGALS OL MOB stwour Aq epn3y siy3 Jo Apnys oyy wyS0q 4sz5 PINOA | soryoerd Sry YITAL uo 3UoM UEUT yeax3 oy} pu |, ‘sepnyy JozINery 243 OP se suonisod pue siumtoq pewouepuny oy soxy os ur amypeof ywas8 ayy pres ,,gsuortsod Jo prpuaids sy ueqi aonowad | pjnoo Surya 9330q 3eY AN. yure ‘sapnyy s9z{NOLyy UTEIIa9 JO -ovad Aprep ayy paynypoq soyrer uTySeof yeaxd oy} YIM H Jossejorg yyy y9y9 oyr 0} Wipog UF syuopnys SuowE quasi AloxS B St OUIqI, “pourpou sin 1 YaGNON ganlg ‘Aysors Aran pakeyd 2q. pnoys opnag oy) IeyR ‘St Iq “quIOd 2uQ ‘Meyy JO Sastoroxo ayy sonoesd ‘oyeBai ay3 Jo pueuntuoo 343 0} pre a[qenqea B sy “Buus mou oy2 jo ound oy2 premoy we 9y3 Buster Aq. siaysuexy Jus oydppue pmoys ywopms OY, “ove, yeHEd ev Auedwosse skemye Pmoys 9407 Busus y "qyFuans pur ‘uorspoard ‘oozoy uLOpM YN WEF Whur sraFuy ogy “ssoysuery Buys 4y3x] Jo ‘ose fonay st sry “preogiaBuy 043 10A0 Avjd oF o[qustape sdewye sr 3x ‘oq 9yy Jo quod oy} ye sfum0q iyAq, Asan Burdyjd way ay “2u03 Jo Aqyenb Burdses v sosnvo amssord yonur oo], -soueuosax Jo 3ujo0d aya wrosy Sato -9q aoueEyStp ayy JoyoYs ag ‘sBunIS 943 uo Ayd om soYSrY 9y2 yey) soquOMIy “suoNIsod YY pue yunoy 2yz UE 9t0} oq} dure you oq “duo, TOU YIM ‘Apaysty Jeymauos paked aq pynoys opnyp e]oy.n ay], ‘poyyous s1yp Aojduio ‘Suyyyrys Jo syney 043 a7etAgo OJ, “suorour Asessooauun ppoav ‘rayja801 sxosuy ays paios you og. “IEZLNYA AALS OL MOH 938 HOW TO STUDY KREUTZER. ETUDE NUMBER 20. This étude, in the Hermann edition, is marked allegro. I would play the étude moderato instead, pay- ing ‘special attention to the accuracy and evenness of tills. The Kross and Singer editions begin with the up bow. I prefer this older form, beginning with the up bow and taking the first fourteen notes with the same bow. Accent the trills and remove the pressure upon the bow-stick as soon as the trill is concluded, to insure a free, flowing movernent. The new Hermann edition begins with a down bow. If the student finds the rhythm difficult and has diffi- culty with intonation, play the étude at first without the trill, for it is very valuable as a study of string transfers and’ arpeggios. Massart uses varied bowings. As fre- quently stated, I would do away with all forms of bow- ing when mastering the trill. In the higher positions be very careful to make the wide string transfers with an arm movement. The first and fourth fingers must always anticipate a change of position, the first finger remaining in place in order to facilitate position work. If one finds that the fingers are too close together in the higher positions, release the second and third fingers after having played. Keep the elbow well under the violin and anticipate position work by making the thumb perfectly free. I would often advise the mem- orizing of difficult runs. One passage should be played over and over until correct. This is an intonation study of the highest order. HOW TO STUDY KREUTZER, a7 orizing every two measures with the arrangement of bowings as’ indicated in the Singer edition. The arpeggios should be mastered musically, every group being perfectly in tune. I would use a forearm, detached bowing. Do not, however, press heavily upon the strings nor allow the bow to vary in its relative positions from the bridge. The teacher should inspire the student to take the positions without fear and carefully watch the movement of the thumb. The fingers must remain upon the strings in each new position, the first and fourth being ready for immediate changes. If the fingers begin to crowd after leaving the fifth position, release them from their places and let them lie curved above the notes to be played. Practice slowly with firm, even fingering. A uniform tempo must be main- tained throughout, All high tones should sing and should be of proper length, especially when they are half notes. Cultivate boldness and confidence in the student. ‘The elbow must be well under the violin, and in passing from a high note on the E string let the entire arm lead to the G string. For those students who are intending to be profes- sionals, I would advocate that each group of arpeggios be memorized and played mentally, the left hand mak- ing the string changes, the bow resting a little above the middle and passing from string to string, without playing. The student may then watch his string transfers. Throughout the entire year this étude should be played frequently, only one forni of bowing being used, and that the forearm stroke. ETUDE NUMBER 13. Moderato. gia == JS SS SS SS Fz = ~ ~—Pauayerd Buyoq z0ddn orp ‘omswour Burmorioy ays wr Suyosuy jo suss0y m7 343 a}0N syearoquy JO Myares Kpeored oq ysnur suo sou YsUeAII pUE yuan oy uF anq ‘ajqenyea Ajeysads you st apnag sum ‘Apnys UorwuOW! UB SY “S|[Lt} 943 OF UOHUAIZE |[Nj BALT Avur Buo yyy sv os BuI0I9q [ILM yeUD “I9eF UT “3{Z0m uonysod ur ajqnozy ou 2q las ouayy ‘Tr pue 6 sxoquINN, pozaseus sey ouo Jy -4siy 30 ‘poreorpur 2u0 043 2d00x9 Buyog Aue oe20Ape you op | “wopoasy puc ySuans yeai8 dopasp Seu ouo ‘youy UE “yr YBNoI, “Supueys Jo Stoyorar Aq payoa|fau zaaau St apnay qWUa|[oox9 SHH, 29Sey YON O03 40 ‘Joa or|Sod uy ssouUdAdUN Ave 9q you Jsmur ary “s1aBuy yLiNo} puR pay oy ‘yqUA [13 Poo v dopoaap op st apnyp aya 0 yoalqo ward ayy se yontuseus ‘Aousroyord woruyjoo, sv yom se opnyp aya yo anyea jeorumrdys ayy sXoxjsop oduroy paseasour we ye uoya Aue ‘sopm1p TIE Jao Jo anu si Sy “yoHS-Aoq ayy uodn amssard uaas ue urmureu pue ynoySnosyy TE aya dn doy ‘mow seq ay3 Uo {]139 B St a10y) sEAaUDyA ‘apnyy ayy ynoysnory? Ayjensn moq afoqm yy ay. aMoyeue oy 10} TWoIOYMS om are sqft omy ‘uojsioard pue Aqquoptun ‘ssourea[9 10g ‘ULI0} 9yqUIISOp B JOU St WIN] we pure s[IEN dam, “ssy OU saso] 3Y9 Aeyd 07 3509 st af Sopmig [TE 947 JO eToya ays moysNamyA PuE ‘parpnys oq you pmoys 114 9yi Jo suAZO, pore, evo £1949 Ur [IE aq Jo sou qsxy oyt Surjusooe ‘w40y Buoyfoy oy) 98M Plnow T le WAZLATAA AGALS OL MOB . ‘901g aon aOR say Soper 190 4q pousngn soxeioo ‘swaIs ‘SPANLL, BUIACOTS aiqnog ‘€ "yoog'y eg 'c6 do ‘axpmis pe2my2, MS SUCRE Baan oN ‘ays uD My paystiqnd “suoysuesy, Buyng jo Spmis ayy sop panopes dijppedg : ka Sexpms pares mnof-Kpam asour Sursn ‘moq oy2 Jo appr ays ur apnay aya Avpd ospe Pom | ‘suoHOUr seIMasI pur pexaqE] ay} yI0q SurAjoa UY 940498 I14M w ST JuauTEAOUE ay “Fey ay} JO apo ay} uo ‘9qissod sv Ajvou sv ‘Kujdo2 aatng “apis o7 apis wos; tog 43 31 OU Og “TAYOs¥D UeY? [nJasn a1oUr sorpnys 3foaag oy Puy | ysnoyye “ruosey Aq. papuaur -wlooar se ayoz9s IyB{9 am3y ayy ay]UN you sf JuoUTIAOUT 2g, ‘Ind IO puw pasinjs Buroq sau omy ‘4s0q Oy Jo pan soddn oy ur paced oq sy pinoys Fr apnyg 26 sido E24IS SUPE Aq ‘serpmas, dors-aqquoq ay puaururoses ATyBIy ABA ‘OASMOY ‘PINOM T ~G SEH JO asoyy wosy UEGD sopnis prey oy wosy Apuonbagy arow y1om uornsod yoear of wWoysno Aur vaaq sey I] “JUOq pue -sezey Jo sarpnas ay3 03 winjax quonbasy v ayeooape ospe p[nom T sdois o[qnop pue sapnay yp} Jo sapso ayy ur auoUSpne uso Sty 3sD [AL JoyowT STM oy2 “FopyO IoyI UT posed Aqensh axe sopnay sezanary, aajaany aszy aya YBNOWY “suopstren Sumas Om) paroyseur sey quapnys ayy FE OyRABoyTe apnag sty Iwo souTOWIOS T ‘Wevp jo Aiyseur ay2 ur ajqenjeaur are asayy, TSPPMS PHS snofedyuamy ywom 09092 AT UL poyeorpur SuEKoq Jo spoyyour ays Suisn "931g suepy Jo ‘ef snd ‘opnap ss1y 843 07 uoRUOAyE [Teo PlOM J ‘SBULNOG Buyyeusoyye ‘oq 043 Jo a[ppHe oy ye owooids reOyHE ay} ose Puv ‘woq UAoP ‘soq 943 JO JEM JamOT O47 HuIsN ‘spaoyp so sdoxs aqnop Jo wo} aq) ui sour aazy3 40 oA pakeid Suravy soy ‘apnap ay2 Jo yuauoD yeorsnu ayy Josisdjeue oy — sourviodtr qwa18 Jo st Bump ouQ, “€r apnig jo Apnis oy apaoaid pmnoys asoyy yey astape plnom [”'SozpmAS eH] aya pue g-£ syoog. ‘sBusmog cook spoaog oy pode[d tou sey uopnys oy JT “sorpms Suuog TeUI310 op Ur PopnyoUr OU St opNIp STL, ZINA KGALS OL MOH gz36 HOW TO STUDY KRE ZER, would, under no condition, begin the double-stop studies during the progress of ‘the trill studies. The wise teacher may, however, begin the Halir double-stop exercises, as well as other studies for the development of the left hand, by this great artist and teacher. At any rate, there must be some relief in the trill studies ly I would introduce some valuable étude by Dont, and always use the Sevcik 4000 Bowings for drill work Speed is not a matter of importance in trill études While playing elaborate études of this kind review: Numbers 9, 14, and 15, Note in the ‘ninth and tent of intonation. Do not press upon the bow-stick. When- ever a grace note above the trill is used, do not fail to give it clearness and precision. The fingers must, as usual, lie well in what part of the bow this étude should be played, as the nature and length of passages require varied bowings. I would cali the étude elaborate and artistic. It may be referred to when one is studying the Rode Eighth Concerto. ETUDE NUMBER 19. az re —— git as formity of trills is concerned, is quite difficult when one considers quick changes into the positions. as you will observe, is very frequently used in the trill an: start. The number of the étude in the Kross edition is 22, and it should precede No. 20. HOW TO STUDY KREUTZER, 29 space. In short string transfers we do not usually use the entire arm. In this case the arm movement is necessary because four strings are involved. The fingers should always seek their positions before the bow is ready for a transfer. On the other hand, w should read ahead at least one measure and anticipate finger changes. As we desire absolute freedom of the wrist, the short crisp staccato should be avoided, unless we wish to review the étude at the very point of the bow. Hold the fingers down when not in use. In extensions do not throw the wrist out. ‘The fourth finger should always be arched, and the first finger must not sink below the crease at the base so as to go under the neck of the violin to the left. Be very careful to select strings that are thoroughly tested and well gauged. Play one passage over and over until it lies easily under the hand, If any varied bowings ate used, I would slur eight notes and then sixteen notes. Also play, occasionally, the artificial spiccato in the middle of the bow: ETUDE NUMBER 14. Mart op ~ MW ogtecttes FR ae Piast oP ase eat ete sae ee eer eet In the Singer and Hermann’ editions the fourteenth étude precedes the trill études. You will find that it is numbered thirteen in the old Peters edition. In the Kross edition it is No. r2. It is evidently the aim of the Kross edition to make position work of prime importance; in fact, to increase the difficulty of the exer- cise through the use of the positions. ‘While this is very excellent for advanced players, and I can see the object of it in more beautiful string trans- fers, I would not use the Kross edition exclusively, ifpve syua9 of song SHOR MAN HOUPHLE PED Sa pausing ‘Sedo puvor do ‘moma “EL Ma ‘suon22W09 Son ¢ sae “2}0u1005 295 ¢ J ‘Burnoq oyeFoy pu oyesowys oy} taaaizoq. yse13tO9 auy pue yuoose Suos7s oq ass 30y3 eouLLOdu ywaId Jo SE 41 any sty UT HOTA Jo song oy Ajqissod 40 ‘squauasour offepy ayy Sunaard ‘Sezey Jo , sauny “74g sepnyg ayy ‘aoueysut Joy {SxIOM soyI0 YI Sopp 1} sazndzy ay quaurajddns pjnom | Aya vosear aya Ajurew st yeqy, “Aep v ut pazoyseur you st ]p133 poo y “weap sf o1myoe3 24 [HUN APROTS sasrosaxe yu qe Avig “YBus[ as1yUO Sy noySnosya IE ureyureu pu [Tz oy} ywaose 01 HJazeo AzaA aq amnsvouT uy 943 uy sod mau ayz oF Surys 043 Suoye xoSUy gszy oy3 Sumpys Aq apeur oq Ploys amseour puosas oy? uy saueyp uomsod ayy, “woparaf ssay zou pure Koueraq atour Wf SOI [By w Jo Sunwaooe yy yey 04795q0 ainoyrp 419A are ‘xoaamoy ‘Bums 9 ayy wo SET oyL soutinpua woud paure aawy siouy ayy oum siya om fo woxoasimy HL ‘I ed 5 ou} B 78 Om7 JO aU] e BuYZOWeU “payeorpUT Burmog a3 yowar Pinom J ‘SMI JOY “our Aq our “7x9 24} Apnas ways J -Joploys oy2 Wosy uau2Aout 4st] ¥ Y3IM “Mog ay3 Jo aIPPIUL ayy mojaq saxONS poyDeIep 2y8uys yey say ] “posn st € “ON JT “FE pue €€ sopmag YIM wI0q Aqjensn ] sry owos Ayqyssod Avur ‘suonypa ao8uig pue wuvuuoyy oy) WY punoy se ‘cf apnig OTT AL FIL Beg ‘SismyorA sof sasiuacg Aqubq Kut asn Osly “IWOG. pus sezey Aq SostoIox9 paroafes PUL TIS JO sapnrg dors-ayqnog. ayy Yr 40M sy WoUIO|ddng , “pazinys saqou ano} puv pazunjs sojou omy spreaiaye ‘doys ajqnop yoxa aoyFe Apysys Mog yy Buster puv ‘smog 943 Jo opr dy) 4B soyoNs [kus puv 1oUTUE g yo ofeos ayI KEIq onions -oo Sif Jo siseq oy puBysIIpUN je quepms oy? 743 os apnig sty} aedqeue 0} oSeqURApE uv oq IySrU 3] paureyureut oq ysnur ump iAys woAe pez oduay mops y “Aptterfuq pue peo no puws 3snur syn [IY “sessazZosd aluay3 ay2 se wopoory 21001 ture ot} SuyAi3 “Mog oyp yo surod oy} JwoU Avid sadussed Painys oy Uy “wang v pur sifu Om; UEP azour osn you oq “SHEA 9y3 quedoy “UNE mMoq aya JO Wopeasy ay sis arapiaqut Aeur sm se ‘apnyg styi Jo BuyuurBaq 943 WB UO} Yonut 003 Joy oatIS 4OU OG "NHI JO sapuizy doqs axoype 04 sjooyss Aawpuoses pue saBoyjoo je aSsn prom T “02 paasoyas owaysty epes3 oy) puosaq quapms oy} saoweape Apyuanb sasuo9 pu sxeod oxowr saydno0o wyora ayy jo Apmis ayy yore uy suoNMInsur Sze] sayIo pure ‘uIsuODSTA Jo Ayszoatug, 93 ‘wesqyoI Jo ArsroaMEA ayy “WIG Se sadayjoo Yous apnjsur you op T uorjsauu0D sIyi UT “sjooyos Yons Jo songopeyeo oy UI pauT|Ino se Apmis Jo Tiny -nonLind ay} Ur pepnpur axe spruTAeg pur ‘9poy ‘O[TLIOKT ySnoyse ‘rozynary jo Apnys oy3 puodog o8 JoA9 sjooyss Arepuoos pue soSojoo uvowaMy ur squepMs og andeag Jo uyseg_ ur se YBnoz043 20 parreyap se aq ouueD ‘Su cueape Appider ySnoyy “we uyotA yor ur AsyuNod v Jo spaou jeonsed ay3 0} urajsKs ano ydepe ysnur am ‘aouq {qe ye pvorqe 08 01 a[qe are syuepnys ano Jo JaquNU Yeus Aron v Aquo ‘ssajaqaoa9N "wy, oF JuEYOdUT Aza sur00s sv JOM YRS opeUTLUNS oy asEMUN oq LeU 43E sxoyoea; uSros0} yeos3 ay jo iupodpueys oy Worg “gsva] 48 ‘Asooy} UE posorseur Apvosye Sopdroutid soozojugas Ajaxour yoryas Sunpysza49 opnpoxe 07 Aressaoau Ajarnjosqe 19 WIZLNEYA AGAIS OL MOH60 HOW TO STUDY KREUTZER. When first studying it, I use the middle of the bow — a light stroke — raising the bow on each note. The artificial spiccato may be used with good effect. Master the musical content of the étude with a light bow stroke. Then use a forearm stroke, the sixteenth notes being played with a wrist stroke. Study the étude in sections ‘There are no new difficulties to be surmounted. Always strive for a singing tone. ‘The double stops must not be played as an arpeggio. Distinguish carefully between double stops and single detached notes. GENERAL REMARKS. During the entire study of Kreutzer avoid the use of the vibrato, especially if intonation is inclined to be false. After finishing the études, always advise the student to review each week, while studying Fiorillo, the études of the three parts of the book a. First twelve études for the fundamental bowings, b. The trill studies, and c. The double stops, Whenever the student seems careless in the mastery of new principles, teach him to return to old ones cheer- fully, for the study of Kreutzer is really never finished. Upon these remarkable studies are founded all sub- sequent works on advanced violin playing. Careful examination of the works of Corelli, Tartini, and other masters of the old Italian school, govern the solidity and finish of the Kreutzer études. I cannot speak too highly of the Massart bowings, although I have never used them in their entirety. ‘The ‘remarkable intelligence and musicianship dis- played in the revisions of Edmund Singer and Emil Kross are, indeed, an evidence that the study of Kreutzer has dominated the minds of the most thoughtful teachers the world over I do not mean to exclude detail, but in practical violin study in American schools and colleges it isef epnyg se [om sv ‘apnap siqy yan aun ajquiopysuca quods sAvAiye aay J ee HD ———s A yinooys osm posapap ey MaaWON dana -rouueur powpersns v UL pakeyd 2g pInoys yoIyA uoRBUOWE Jo ApMyS e st af “IY “ON apnag Jo siskTeue oyi o3Ut amitia 07 Aressaoau 40U Sf I] * © speopesd Sqpenba ase yoryss apes su? Jo S08 40 4st] & UAH axvy 4 ‘(Co “d ‘syreUIOY ArejvauTa|ddng) jdozmnary Joy aredarg 0} MoH], WO Yooq Aur uy “sozgnazyy Jo Apnys oY} yp woRIOWUOD ur ‘PIBUOR] Jo S0foS 245 dif}'Se [fam se “InJosn A10A axe “IOAaAOY “9S9U.L “yayxe Aue 0} Jou IP Jo syIOM oy} pasn oy eyT Tlesaz you op [ “aozinary yo APMIS yy yIA uoTOAU -W0d UF pash ay YOE|M S{iOm oy2 BuowWE aM ‘pseuOTT Aq ‘ong ap auainos ay2" "MAA Jo so}s29N0D pusip ~Cuamy pure puosas-Cquamy ayy “pavg q wnoquun.] aiYT mig “uonwysayE joonotid pus Buundsur ous paot pty safdiourd yo Apas sayy Jo suvout B se soyt0 -109 OISSEID BY} PanfeA oy puv ‘siIo} parxoyduoo ssaq ySnory3 s2[diouzad jo Asoyseur ou UL persed 2H “epnap sty) 1y8nU} soAou ‘2our Joao eau ] WoYM sozynary 30 soypwO. [nyarRD ySouT oyy JEy Aq svA OYA ‘KxOYTA ssast0g UOyWog ays jo soPaNG suo ‘Broquorgy snynf sh AGGWAN ACNLE 6S YAZLATAA KAALS OL MOH58 HOW TO STUDY KREUTZER. to begin the study of the classic concertos at or before this point. I also use for practical double stopping the works of Leonard, Opus 41, the Spohr Duos, giving the pupil the second violin part, Haydn Quartets, and the Airs of de Beriot, in which we find many examples of double stopping. ' If, however, in the judgment of the teacher, this étude seems more practical than the use of standard solos and ensemble works, I have nothing further to say, except that if the study of Kreutzer is abridged in Berlin, our American methods may also be somewhat clastic. ETUDE NUMBER 40. eo ow ®t a aS} ES study immediately before Ii possible, have some advanced student illustrate with the Tartini Sonata tn G Minor, the Rode Eighth Concerto, or the Hand A Major Sonata, in order that various forms of the teil may be understood. For furt lishments and trills, we may refer to the slow move- ments in the Bach and Spohr Concertos; also the middle movements of the Haydn and the Mozart Quartets Everything that can aid the student to understand the practical connection between the études and the stand- ard classics is important. Intonation is very important in this étude, although T do not always weary the student with a study of it in its entirety. A few lines played with a clear, firm, and slow trill, without accent, are an aid in the further study of double trlls As I said before, two trills are sufficient. Omit the turn. 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