HO W TO STU D Y KR E U TZE R

A HA ND B O OK F OR THE
DAI L Y US E OF VI OLIN TE A CHE R S
A ND VI OLIN S T UD E NTS

CO NTA ININ G EXPLA N A TIO NS OF THE LEFT HA ND DIFFIC ULT IES

A ND O F T HE I R S O LU TIO N A ND DI R E C TIO NS A S T O
,

THE S Y STE MA TI C A C Q UI R E ME NT O F T HE
VA R IO U S B O WI NG S B O T H FI RM
,

A ND B O UN DI NG

BENJA MIN UTTER

S

B O STO N

OLIVE R D IT S O N CO MPANY
YO R K CHIC A G O

c . H. DITS O N CO . LYO N HE A LY
 P R E FA C E .

THE purpo se of the write r is to p esent a hand book wh ich

r -

shall make clear the mechanical procedures which the student

of K re utz e r if he w oul d study K re utz e r p rope rly is obl iged to
, ,

conside r ; to put in black and white what eve ry teache r d i s

c usses and sho ws in the lesson room ; and to so fasten these
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p rinciples on pape r that unlike the spoken w ord they may not
, ,

go in at one ear and out at the othe r necessita tin g tedio us and,

costly repetitions b ut may be refe rred to in the p rivacy of

,

the study roo m as confirmations of w hat the teache r himself

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has said and done refreshing the recollection and fixing their
, ,

facts on the me mory .

It is often the case that in the long Struggle th rough w hich

the learne r passes tech niq ue is acqui red unconscio usly
, Th e .

finge rs apparently gro w deft ove r night ; and the amount of

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skill possessed is not realiz ed un ti l by some chance an account

of stoc k is taken This fact teache rs have freq uently noti ced ;
.

they have indeed seen th at even the listless playing of a study

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w ill benefit the student rega rdless of his i n attentio n and apathy
“
, .

To the fitness of the technical material this is p robably d ue

a fitness that brings abo ut its resul t anyho w tho ugh not necessa
, ,

rily in the be st and most sati sfacto ry w a B ut if good m be

y ay .
,

gained fro m a playi ng of these s tudi es that is mechanical and

pe rfunctory h ow much more good may be draw n fro m eff o rts
,

that are at all times conscio us and that are carried on w ith a
,

definite and i nspi ring end in vie w namely : the acq ui re ment of
,

the fo undation techniq ue needed in solo quarte t and orchestral , ,

playing " And the possession of this is the res ult of a proper
st udy of K re utz e r .

For to play K re utz e r w ell w ith mastery of the bow ings and fin
,

gerings laid do wn by Kre utz e r himself to say nothing of th ose

l ai d down by many s ubs eq uent revise rs means three things :
 iv PRE FA C E .

Fi rst : On all four strings a ve ry conside rable left-hand tech ,

ni q ue co mprising skil l in shi fting b oth U p and do w n by seconds ,

,

by thirds and by skips an even str ong trill go od dou ble stop
, , ,

ping i n th e fo ur lo wer shifts readiness in littl e finge r extensions

, ,

smooth and rapid c adenz a playi ng and so me skill in octaves in , ,

di minished seventh chords and in arpeggios all of these exe

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outed by finge rs held at all ti mes quietly ove r the fin er board

g
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S econd A b o w arm flexible light and yet firm and strong

, , , ,

w ell trained and habituated in all the p rincipal bo wings and

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,

e ve r ready w itho u t sti ff ness in c r ossi ng the strings to play th ese

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s tudies w ith an independ en t stroke in w h ich neithe r b o w arm

n or finge r hand kno weth what the oth e r doeth ;

Thi r d A f ull even tone in all the registe rs of the violin .

I n preparing thi s w ork it has been the writer s ai m to ’

desc ribe as explicitly as he w as able the vari o us mechanical

appli cations of the hands and finge rs involved in playing these
studies If it w o uld see m that the fi rst studies had received
.

undu e attention it must be re me mbe red that it is in these

,

very studies that the hardest w ork is done Fo r the last part of .

K re u tz e r rarely gives any trouble .

Th e arrange ment the n u mbe ring he re follo w ed is that O f

, , ,

the revision made by the au thor and based on th e revision of

E d mu nd S inge r which contains not the c usto mary 4 0 b ut 4 2
, , , ,

studies . In closing the a u tho r w o uld acknowledge gratef ull y

,

the aid he has fo und in cons ulting Carl He ring s Ueber ’

R ud olp h Kreutzer s E tued en Leip z ig 1 858 and the ed ition of

’
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s tudies revised by E mil K ross Mayence 1 884 and in a little , , ,

’
w ork of s urpassing excellence l A rt d e travai ller l es E tud es d e ,

Kreutzer ( e rtT h A of Wo rking —o ut the E tu des of K re u tz e r

" ,

Lambe rt—Joseph Massart Paris 1 89 7 the s uccessful sol u tion of

, , ,

some of whose problems may be attempted how eve r o nl y by , .

th e virtu oso
B C
.

B O ST O N, A ug 8 , 1 9 02 . .

Fo r th e Vi o l i n , FO R T Y- Two S T U DIE S o r R O DO LPHE KB E U T Z E B E d i ti on b as ed on .

t h e Revi si o n o f Ed mund S i nger, w i th A d d i ti o n al B o w Vari an ts b y Emi l Krose and Lamb ert

"
p
J ose h Mas sart E d i ted b y B E NJ A MIN C U TT E R , B o s to n , O l i ver D i tso n Co m an
. p y .
 HOW TO S TUDY KR E UTZER .

G E NE RA L PRINC IPLE S A ND RE MA R KS .

The FING E R S The

finge r last used in a shift is the one by
.

which a change of shift i s mad e ; thi s act is done fo r the sake of

precision ; w e call the finge r involved the Shifting Finge r and ,

the finger first u sed i n a new shift u p o r down the Playi ng , ,

Finge r S ometi mes one finge r may act as both the shifting and
.

the playing finger We lay down then the followi ng

.
, , ,

RU LE Unl ess the shifti ng fing er be a l so the p l ayi ng finger, the

:

shifti ng er must take i ts l a ce i n the new shift bef or e the

fig
n p l
p y g
a i n

finger .

Th e act of shifting may th us req ui re one or tw o fingers .

Furthe rmore : Shifts may be made over the inte rval of a

thi rd up o r do wn as in all ordinary scale playing
, , the so
called Scale Shift movi ng ove r the shifts 1 3 5 7 9 o r 2 4 , , , , , , ,

6 8 ; o r shifts may be made up or do wn a second using shifts 1 2

, , , , ,

3 4
, , Second S hifts o r di rectly by leap to pa rts of the fi nger
, , ,

board more or less re mote Skip Shifts 1 to 5 6 to 1 these ,

last may be called Guided Skip Shifts if a shi fting fi nge r be

used and Free Skip Shifts if no shifting finge r be u sed
, .

Th e B O W The four strings of the violin w hen played

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si ngly represent four planes th rough w hich the b o w must pas s ;

,

i n do uble string playing three inte rmediate planes are used

,

ac cording to the stri ngs played U pon Freedom and uniformity .

O f stroke de mand that the bones of the fo re arm mai nta i n the same -
2 H O W T O S TUD Y KRE UTZ ER .

relative position one to the othe r on all four strings and in

, ,

wha ts oeve r pl ane the b o w may travel Fo r instance to play on .

,

th e G stri ng w ith the elbo w held do w n in th e E string position ,

means to c ross th e tw o bones of the fore arm undul y and to -

,

e x hange a positi on i n whi ch the muscles have all the freedom

c

pos sible for one i n which the w rist move ments are c ramped and
the powe r of p ressure is pe r ceptibly lessened Hence the fol .

lowing ,

RU LE : R a i se or l ower the upp er m f rom the shoul d er a t a

ar

h
c ange o f str i ng, so tha t the whol e a rm ma be i n the l ane of the
y p
stri ng or stri ng s l a ed up on
p y .

An exception in the case of a single sho rt note on a neighbor

ing string will often occ ur ; at s uc h a time only the b o w h and
changes its position invol v ing a move ment of the w rist
, .

Bowings divide rega rdless of sl urri ngs into tw o great

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classes the firm bo wings and the bouncing or bou nding b ow

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ings In eithe r class w rist action is e ve r present predo minating

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ho w eve r in the bo unding bow ings Th e F unda mental Bowings

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desc ribed in Study No 2 will set this fully befor e the student.
, .

S TU D Y No . 1 .

A Mi n o r 2 A d ag i o S o s t en u to .

O ri gi nal E d i ti o n , NO . 1 M assart , (omi tted " Kross No ,

. 2 5; Sch roed er ,
No . 6 .

This
study belongs w ell along in the set befo re and pre
parato ry to No 2 3 the cadenz a study
. for it is in no way a
,

proper NO 1 Its p urpose is to give a legato the famous long

. .
,

s i nging b o w of the classical school

- of violin playing and the ,

e le men ts of this stroke may not be st udi ed w ith the best s u ccess

a t this point in any ordina ry violin co urse The two essential s .

 HO W TO S TUD Y KRE UTZER .
3

in the stroke are pressure upon th e string thro ugh the b o w and
, ,

a fitting slo wness in the stroke itself T h e former ele ment w ill .

be understood and w ill be easy afte r the F unda mental Bo wings

—see S tu dy No 2 — have been c o nside red and practiced
.

thoro ughly ; and th e latte r ele ment depends on a tension in the

u ppe r a rm w hich co unte racts th e p ulli ng o r p ushing of the bo w ,

U
p o r do w n E xactly. h o w mu ch of these tw o ele ments is
needed must be told by pe rs o nal obse rv ation alone It sho uld
, .

be re me mbe red at all times that th e finge r press ure on the

, ,

strings must exceed that of the b o w Still the stude n t must not .

be over z ealou s In this respect fo r a seri o us stiffe ni ng of th e ,

fingers foll o w atte mpts at too much tone th rough thi s

means . E cono miz e
the stroke at the beginnin g whethe r the movement be up or ,

dow n ; and do not d espai r of getting beyond the thi n and puny
so und w hich beginne rs al ways p rod uce for although little ,

vol ume may be possible in the sl urs ove r th re e and four meas
ures sti ll the benefit of the efi ort in pla yi ng the m w ill soon Show
,

itself in inc reased p urity and pow e r and i n heighte ned command ,

in all o rdi nary singing passages I t is advisable afte r so me S kill .

,

has bee n gaine d to u se a s w ell and a di mi ni sh in each stroke and

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a s well in one stroke and a diminish in the next Finally .

O bse r ve the Ru le as to the shi fting finge r .

To i ncrease th e useful ness of th i s h and -b oo k th e numb eri ng of

th e stud i es as sh o wn b y th e foll ow i ng stand ard rev i s i o ns h as b een

gi v en D avi d , E d i ti o n Senff ; Hermann , E d i ti o n Peters B l umen

:

stengel , Li to l lf M assart, Le d uc Kr oss, Sch o tt Sch roed er , Ki stner .

O f th ese th e fi rst th ree fol l o w ab so l utel y i n numeri cal successi on

and i n numb er o f stud i es th e o ri gi nal Forty Stud i es b y Kreutz er ,

and ,
w i th th e co untl ess repri nts o f th e Fo rty S tud i es, are summed

up und er th e h ead of O ri gi nal ; th e o th er revi si o ns menti o ned co n

tai n ei th er fo rty or fo rty -tw o stud i es, w i th certai n d i fferences i n
th ei r nu meri cal o rd er , o f wh i ch a d i scussi o n i s h ard l y necessary .

A s al read y menti oned , our nu mb eri ng i s th at of Forty-two S tudi es .

4 HO W TO S T UD Y KRE UTZER .

S TU D Y No . 2 .

0 m ado r 2 A ll eg ro mo d erat o .

O ri gi nal , No . 2 Massart No
, . 1 Kross No
, . 1 Sch ro ed er, NO . 3 .

FING E R S Altho ugh in C major and containing few acci

.
‘

dentals this study is diffic ult of into nation Scholars often play
, .

sharp as they c ross the finge r board down ward a fact it is

w ell to kn o w before begi nni ng practice With the measure s .

beginning

keep the fingers to gethe r ove r the stri ngs Furthe rmore sh i ft .
,

with the whole ha nd ; do not p ush the first finge r up or dow n ,

and afte r findi n g the new shift move the hand w ith the othe r

finge rs to fit thi s fi rst finge r It is a funda mental principle in

.

shifting that any finge r must be i n place to play in tune the

,

instant the shi ft is made and if th e finge rs lag behi nd th e shift

,

ing finge r this cannot be done ; the places of the finge rs must
accordingly be taken as a secondary act i n the p roced ure .

BO W From the large n umbe r and great vari ety of bo w ings

.

invented for this exe rcise by di ffe rent revise rs it w ould appear ,

that if stu died long enough and p rope rly this st udy Of itself ,

may se rve as the medi um i n acquiring a ve ry respectable and

co mprehensive b o w te chnique E xperie n ce confi rms this amply
. .

A n d f o r this r easo n w e devot e to this r eally r e m a r kable exe rcise

an at tention o ut of p r opo r tio n to its app ar e n t val ue B u t the .

k
s ill w hich m a y be d ra w n f ro m these five and t w enty m eas u r es
may not be had at o n ce For except in those rare cases in
.
,

w hich no t r o u ble is m et w ith at this point as to the into n ation ,

it is w ell to divide the attention at fi rst between the finge rs and

 HO W TO S TUD Y KRE UTZ ER .
5

the Fundamental Bo wings and to discontin ue and res ume thes e

,

bow ings seve ral times u ntil their ha bi ts are confirmed and their ,

pe rformance has be co me habit ual is a uto matic For expe rienc e , .

has sho wn that if before hi s finge rs have habitu ated th e mselve s

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to playing in t une the beginner in Kre utz er launches o ut into

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a vari ety of bo w ings fro m distraction of his attention he w ill

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play fal se for a long ti me and for a long ti me will suffer fro m
,

the harm received j ust he re .

A few word s as to th e ph i l o soph y o f prac ti ci ng , and th e wi sd o m

of th e o ft-repeated i nj uncti o n, p r acti ce slowly , are h ere o f i mpor
tance . Man i s a creature of h ab i ts A wi se provi si o n o f h i s C reator
.

h as caused al l h is acts to ori gi nate i n so -c al l ed nerve i mpul ses o f

two k ind s th at play i nto and ai d th e o ne th e o th er. A ny act d o ne
for th e first ti me i s d o ne thro ugh a. more or l ess i ntense effo rt of th e
w ill , th ro ugh a vo l i ti onal nerve i mpul se . A ny repeated act, h ow
ever, so o n b ecomes auto mati c, a h ab i t ; i s th e afi ai r o f auto mati c
nerve i mpul se s . Th e vo l i ti o n al , o r new , act means more or l ess
nerve wear and tear, w h il e th e h ab i tual act means a. mi ni mum of
wear and Herei n i s sh o wn th e w i se pro vi si o n of th e C re ato r
tear . .

For many o f th e compl i cated acts man i s call ed o n to perform, if

p e rfo r med o ften th r o ugh th e m o to r nerves al o ne , w o uld so o n red uce

h i m to d i stra cti on, to ph y si cal m i n .

In th e fo rmati o n of th e h ab i t, i n t h e m a k i n g o f r i g h t a n d
co rr ec t i m p re s s i o n s on th e s en s i ti v e an d te n a c i o us
b ra i n ce l l s , li es th e poi nt w e wo uld h ere emph as i z e . Th e q ui ck
ness w i th w h i ch an ac t b eco mes auto mati c, i n o th er w o rd s a habi t,
v ari es w i th d ifferent i nd i vi d ual s, and al so w i th th e i ntensi ty of th e
w i l led i n th e b egi nni ng
act Th e sl owness w i th w h i ch an act th at
.

h as b eco me auto mati c, th at h as b eco me a h ab i t, i s ch anged for a

b etter o r oth er h ab i t, cl o sel y or so mewh at rese mb l i ng i t, i s a matter
o f co mmo n kno wl ed ge, a th i ng far b ey o nd d ispute or d i scussi on .

It is a matter alway s attend ed w i th d iffi cul ty ; and th e fact th at

teach er s, th e w o rld o ver , in ch angi ng th e po si ti o n of th e h and , for
i nstance, i nsi st o n sl o w and attenti ve practi ce, well prol onged , goes
to pro ve th e w ei gh t of o ur w o rd s .

Let th e S tud ent po nd er th i s . A wo rd to th e wi se s h o uld be

sufi ci ent .

To se rve o ur p urpose our pec uli ar p urpose we divide the

, ,

vario us strokes of the b o w arbitrari ly into Five F unda mental

Bo wi ngs . From these all the manifold modifications which
6 HO W TO S TUDY KRE UTZ ER"

show the maste r playe r may be developed T o avoid any mis un .

d erstandi ng it is necessary to say right here that the re is no sign

,

save the p rin te d w o rd w hich sho w s absol utely w hich kind of

stroke s hall be used i n a give n passage This quite like the .
,

matte r of to uch in piano playing is the affai r of taste alone , .

Fi r s t Fun d am ental B o w i n g Th e F o r e arm B o w i ng t h e .

,

d et a c h é t rai n é o f t h e Fr e n c h m as t e rs t h e f o un d at i o n s t ro k e ,

u s e d i n all o r d i n ary p as s a g e p l ay i n g I magin e the b o w divided .

into th ree eq ual parts and draw the b ow in the poi nt third at
, ,

each do w n stroke reaching the point i tself Speed is of no con .

side ration ; p urity and volume of tone sho uld be the ai m Fix .

the mind on the beginning and end of each stroke and see that ,

at these points the re be no di minu tion in th e amo unt of to ne

p rod uced and no break during the change of tones and no
, ,

slacke ni ng of the press ure on the sti ckfi Adj usting the w hole
"

arm to each string by a prope r raising o r lo w e ring of t h e uppe r

arm d ra w th e b o w along so vigoro u s ly fr om the elbo w that the

,

stri ng s wi nging side w ise e mits a f ul l clear and even to ne the

, , , , ,

O pposite of that sc ratch tone d ue to an excess of p ress ure and

a lack of move me nt o r of that gauz y o r w histli ng tone w hich

,

comes w hen the h ai r does not bite Studi ed p rope rly improve .
,

ment in q uali ty and volume of tone w ill soon beco me appa rent .

Play meas ures ni ne to fo urte en especially , ,

giving attention to c r ossi ng the strings w itho u t any b reaks .

Hard ly any thing in Kre utz e r wil l repay one bette r than assidu o us
A s to pressure It sh o ul d b e me mb ered th a t th i s i s n o t mad e b y b eari ng d own w i th
re

th e ri gh t a rm a n d h a nd Q ui te th e
. co ntra ry Th ro ugh th e th umb as a f ul cr um , a l ev e rage
.

to ward th e l e t i s f m ad e p
u o n th e s ti c k b y th e fi n ger s , h a n d , and fo re arm, — a st ead y t wi s t

of th e b o wh an d a nd f o rea r m to w ard th a t po i n t on th e s tri ng w h ere th e fo rc e is e xp e n d ed ,

wh e re th e h a i r of th e b o w res ts . We b el i ev e th at w e are ri gh t in as se rt i ng th at l i ttl e o r no

to n e i s mad e b y th e U ppe r ar m, e x pt
ce in c h o rd p l y i ng
a , and , po ssi b l y , i n th a t sti fl-ar m
s l urre d stacc ato f o r wh i ch Wi eni a wsk i was so f mo us
a .
 HO W T O S T UD Y KRE UTZ ER .
7

and attentive practice of this bold and vigoro us bo wing It .

must be made a habit Once confirmed as s uch the pe r fo rmance

.
,

of the many sl urri ngs w hic h use it as their basis is comparatively

e asy As a leading factor in all bri lliant passage playing
.
,

orchestral q uartet or solo

, , the st udent sho uld not und e re s ti
,

mate its i mpo rtance n o r relax h i s e ffo rts to w ard g reate r and eve r
,

greate r maste ry .

S e co n d Fu n d am ental B o w i n g . Th e q ui c k W h o l e-A rm
S tr o k e , t h e g ran d e d é t ac h é each note wi th
of th e Fr e n c h . Play
full b ow at the utmost speed of s troke pa using long eno ugh ,

between the strokes to fix the mind o n carrying both arm and

b o w prope rly on holding the b o w still d uri ng the pauses and o n
, ,

p rod ucing a clean c ut and f ull to ne E ach stroke should begin

-
.

—
w ith an attack s o called,
T o do th i s the b o w must g rip the
.

string to su ch an ex tent that full vibration begins w ith the start

ing of e ach stroke This attack must be made at each end of th e
.

b o w and should be audi ble

, a sharp pec ulia rly biting sound , , .

Let the student a pply so mu ch press ure i n the first place that ,

w itho u t m ovi ng the b o w arm he may Shake his violin through

,

r r r —
this p ess u e on the st ing holdi ng the violin loosely mean
w hile w i th chin and ha nd an d let h i m the n relax the press ure

e no ugh to allo w the stri ng to vibra te unde r the starting of the

stroke ; his j udg me nt w ill soon tell hi m h o w much p ress ure to
e mploy Rigid atte ntion w ill soon make the at tack this i nd i spen
.
,

sable point of techniq ue a habit and will lesse n ve ry app reciably

, ,

the matte r of learning ce rtain othe r strokes This gra nde détaché .

bo wi ng may als o be played w itho ut an attack the bo w sta rting , ,

in the ai r before the hai r strikes o r touches the stri ng a fo rm£4

of st roke w hich is infrequent the attack bei ng co mmo nly regarded

,

as an indispe nsable ele ment .

It is often n oticed that abou t th e mid dle of the stroke the

b o w s w e rves or the w rist beco mes stiff
, T his in many cases .
, ,

may be laid to an exagge rate d bending of the wri st Fo r .

,

altho ugh op i nions vary as to the hold i ng of th e wrist j ust h ow

3 HO W TO S T UD Y KR E UTZ E R .

high or l ow sti ll the best playe rs d o not h ump the wri st to ‘

breaking at the butt no r depress it to a letter V at the point .

Begi n the strokes then at the point th i rd i f the re be tr ou ble

, , , ,

a nd lengthe n the m grad u ally u ntil the middle of the stick h as

bee n passed sta rti ng al ways with the forearm and the to p of th e
,

hand in a straight line which is the normal position be it said , .

Lengthen the strokes unti l each end of the b ow be reached th e ,

w ri st bending so me w hat i n the de mands of the po siti ons at th e

e nds .

T h e ele ment of te nsion S ho ul d not be forgotten Without .

prope r tension a q uick clean s tart cannot be made An excess

, .

is how eve r harmful Th e move ment sho uld be quick free and
, ,
.
, ,

s ure ; and pra ctice will make the arm light ready and tough , , ,

adding like the Fi rst Fundame n tal Bo wing much to i ts end ur

, ,

ance Pe rseve re until th e habit of this stroke be fo rmed

. .

Thi r d Fun d am ental

B o wi n g Th e Han d B o w i ng
. .

Begin at the butt, sho rt strokes , move ment from the wri st alone .

If the w rist be sti f

f w —
hich is often the case the arm sho uld
be held against the d oo r fra me o r any i mmovable upri ght u ntil
, ,

the bones of the w rist yield and the move ment may be made
w itho u t any participation of the arm G O Slow ly until a fai rly
.

ample stroke is possible w ith fairly firm finge rs a ve ry little

play of the b ow in the hand is not bad although no play is ,

better ; the stroke may use one and a half inch of hai r Make it .

as su s tai ned as possible the tone eff ect a legato not a staccato
, , .

Th e tone w ill not be lo ud This pec uliar stroke w ith the effort
.
,

to make a constant legato loose ns the b o nes of the w rist Whe n

, .

these are loose repeat th e stroke farther along the sti ck unti l it
,

is easy anyw he re B ut in doing all this the forearm must be

.
, ,

i mmovable the w hole arm acting only in changing the string

, .

Although regarded by many students as diffi cult and by ,

many neve r acquired - to thei r great loss this stroke on ,

w hich SO many things i n good violi n playing depend may soon ,

be played w ith ease and s urety in a slo w tem po Ho w ever .

,
 HO W TO S T UD Y KRE UTZE R .
9

trouble is so meti mes had in ce rtain parts of the b ow ; in which

case even th e most pe rverse w ri st one most unyieldi ng may be , ,

loose ned by beginning at the b utt whe re th e stroke is easy ;

then the move ment once started the playe r may gradually w ork
, ,

along the sti ck flaking the u p strokes shorte r than the do wn"
,

u ntil the place be reached w he re the w ri st is tight taking ,

pains the w hil e to main tain the same relative position of the
parts o f the arm Bear in mind tha t the action he re is a lateral
.

one and that by laying the forearm and hand flat on a table
,

and w ith sti ll forea rm moving the h and from side to side the ,

genui ne moti on may be p rod uced In actual playing the axis of .

,

the wrist must be parallel to th e stick of the b ow if one w o uld ,

make the pure motion ; this means that w ith most hands the fore
finge r to uches the b ow not on its second b ut on its first c rease
, , ,

that the big knuckle be not l ow b ut high and that the angle ,

formed by the forefinge r and the stick be near to a right angle .

In changing stri ngs with th is bo wing the pure lateral move ,

ment i s mod ified which is easy to unde rstand

, Whe re the .

changes are constant A string E string A s tring E string for

, , ,

instan ce — the hand vie w ed from the front desc ri bes a fig ure
, ,

approxim ating an ellipse the hair clinging to the stri ng Sub se

, .

q uent studies w ill Offe r a mple opportuni ty to develop this pecu

liar and val uable feature of technique .

It is neve r wise to atte mpt to play this stroke fast in the

beginning ; better so me ti me and q ui te a n umber of studies with
it in slow tempo Wait until the w rist has beco me flexible and
.

e nduri ng and ready to respond to any change of string Play

, .

each note four times then three ti mes then tw o times and at last
, , ,

singly as written
, .

D riven at a fas t rate with lightened press ure and shortened

stroke and at abo ut one third of the b o w length from the butt
, ,

the b o w bounces naturally and gives the well kno wn S p i c cat o -

'
bo wing the French S a uti ll e the B o unci ng or S p ri ng i n g b ow so
, , ,

called In this both hand and b o w play a part that of the hand
.
, ,

being the more important since a skill f ul player with a poo r b ow

,
 '

10 HO W TO S TUD Y KRE UTZ ER .

W
V I k
x 0

can produce this stroke even half w ay between the middle and
the po int whe re the b o w wi ll not bo und easily and naturally
,

unless used in a flying s taccato stroke wi th the arm the so call ed ,

-

s t acca t o v o l an t .

This springing ho w this Spiccato as usually taught alw ays

, , ,

re qui res a long ti me fo r i ts mastery and is O ften neve r maste red ,

‘

at all ; indeed its possessor is w on t to be rega rded wi th envy by

the uncleve r and unsuccessf ul Th e wri te r can see no j ust rea
.

son fo r this This spiccato stroke of w hich we speak co mes in

.
, , ,

a natural w ay from the hand stroke

, and th e hand stroke is
readil y learned It is no use for the stude nt to try to catch the
.

tri ck to catch Let hi m learn th e Third .

Bo wing ; let hi m tarry w i th i t hnaki ng changes Of

string with a closely clinging press ure until the wrist moves ,

auto matically ; let hi m pe rseve re and one fine day he w ill find

that he h as the tw o strokesJ B ut le t h i m not unde resti mate the

high value of the p ure hand bo wing that witho ut the bo unce , .

I f he wil l obse rve first ra te playe rs he will see soft and ra pid
-
,

non staccato passages thro w n Off by the han

- d al o ne and wi th a ,

lightness and an case not pe rmi tted by th e forearm stroke ; he

'

”
w ill also see as he studies on h o w great a rOl e th i s h and stroke
, ,

plays in all the compli cated sl urri ngs the revise rs of K re utz er
have e mployed and he wi ll pro bably be willing to master it as
one of the i nd ispensables .

HA A Q Ci q
“ 0 t .

Fo urth Fi u d am ental B o wm g Th e S al t a t o , th e m
b e
. .

éTt
m o d ér
/ h th e ro w n s t O k e
‘
i
h
h lf
i
a ar m, h alf hand , or, in cer

tain cases , w holly hand . w i x

v

No t mi staken to ccato b o w , hi the agh

‘4
to b e
i n France th e two terms, sal tato and spi ccato , seem to bear th e same
g en eral n ame sa u ti llé no t to b e mi s taken , we say ,
fo r th e spi cc ato

W
, ”

i s a h and stroke and o ne o f, if no t th e mo st rapi d , of

. Wi Ugs,
wh i l e th e ne b o th
h and and

With the bo wing

and this is a necessity play the whole stud y with Up strokes ,
 HO W To S T UD Y KRE UTZ E R .
11
7

h and alone "

; at a b o ut the middle of the b o w o r bette r an inc h or , ,

so tow ard the butt lifting the b o w from the string for the do wn
,

stroke ,arm 8 .
s il ent up strokes sounding dow n ,

are thr o w n strokes ,

ay be a wk w ard and a littl e w ild at firs

short to uch of hair on the s tri ng are al w ays and so me ,

w hat c utti ng i n to ne hey should be as lo ng as the side play

.

of the w rist will allo w When maste red singly co mbine u p and
.
,

dow n w ithout the silent strokes Do not hesitate at the w h ip .

'

ping of the string or at th e poor tone ; these are at first unav oi d

,

able While learning this factor the following arm stroke w hich
.
, ,

is also a facto r in the complete stroke may be studied w ith ,

b o w in the middle a nd elbo w bro ught forw ard to allo w of free

play of fo rearm and w ri st make light legato strokes U p and , ,

dow n say tw o or th ree inches in exte n t holding the hair on the

, ,

string When the forearm travels easily and the w ri st is free

.
,

raise the b o w from the string afte r each stroke prod ucing a sus ,

/
.

tai ned rathe r th an a stacc ato efi ec t and sho rtening a little the
forme r le ngth of
,
w ill no w be easy to sho rte n the
strokes still more and to make the m more o r less staccato at will /
both hand and b ow now participati ng i n the act which tho ugh ,

fi rst made by the hand alone has n o w beco me the union of th e ,

tw o ele ments th e Saltato Bow ing itself

, An expe rt will play this ,

bo wing w ith consid erable rapidity by the preponderance of the

hand stroke o r the arm stroke it may be mad e very s taccato or ,

al most a legato Th e beginne r m ust not expect how eve r too

.
, ,

mu ch speed this is w holly a matte r of grow th he sho ul d stri ve

for ligh tness of touch and fo r absol ute freedom of arm u ppe r and ,

low e r .

It i s well to say at th i s po i nt, th at th ese b o wi ngs are used wi th

o ut any i nd i cati v e si gn . As al read y menti oned , th e j g
ud ment ,
th e

taste, oi th e pl ay er i s cal l ed upon . Th us

d evo i d of marks of any k i nd , may b e pl ay ed w i th th e h and b owi ng

at any rate of speed fr om A d agi o to Presto , or wi th th e saltato
12 HO W To S T U D Y KRE UTZE R .

stroke fro m a reasonab l y sl o w rate up to a mod erate A l legro , b ut as

a spi ccato stro ke onl y b est and mo st easi l y at a rapi d o r very r api d

rate . Mo d i fi cati ons b y or i i i may mean ei th er sal tato o r

spi ccato ; and may mean the pure h and stro ke , or a cl i ngi ng

sal tato.

Fi f th Fun d am ental B o w i n g . Th e Ha n d S t a c c a t o t h e ,

b asi s of t ac ca t o a n d
th e s l u rre d s o f t h e m ar t e l é s t r o k e s .

T h e fi rst req uisite is the T hi rd F undamental Bo wi ng the hand ,

stroke ; the other requisite is that grip of the hair o n the stri ng
whi ch w e have call ed the Attack With these tw o ele ments at .

his comma nd the student may combine the m at any point of the
,

b o w and may p rod ce a u fi r m —

clean cut t one which will be ,

the shorte r and the more clean cut that is the more staccato the , ,

shorte r the stroke with the ha nd and the more firm the grip on
the string It must ho w eve r be a hand move ment no t one of
.
, , ,

the arm A mplitude of stroke rath e r th an speed Sho ul d at fi rs t

. .

be striven fo r toughening and stretching the w ri st At th e

, ,
.

ext re me point of the ho w this stroke sho uld be studied especially ,

until the w rist is strong and end uri ng and at the sa me time , ,

loose It w ill take b ut little of thi s bo wing to ti re th e begi nne r s

.
’

arm and it w ill take also but a few w eeks practice us ually to ’
, , ,

improve the arm s urprisingly and to fit it for an easy mastery Of ,

the much priz ed and val uable S l urr e d S t a c c at o both u p and ,

do wn T h e w hole thing rests o n the mov e me nt from the w rist

.
,

with a s uffi ciency of p ress ure and take notice a sufli ci ency of , ,

end urance 1 Fro m this stroke may no w be learned q u ickly tw o , , ,

th ree fo ur o r more notes in sl urred staccato in all parts O f the

, , ,

b o w and U p or do wn ; and fr o m it by l i fting the b ow from th e , ,

stri ng w hen it has become easy to make tw o o r more firmly

artic ul ated strokes in the same di rection may be gained the ,

b o un c i n g o r b o un d i n g S l u rr e d S t acc at o near the middle of th e ,

bo
n and late r on the R i c o c h e t and A rp e gg i o
, , s trokes al l of ,

which depend fo r their fo undat i on not on the unaided spri ng of

the stick as is Often s upposed b ut on the spri ng of the stick
, ,

gove rned by th e move ments from the wri st It i s ho wever .

, ,
14 HO W TO S T UDY KRE UTZE R .

follow t wentyn ine varieties of slurs and of sl urred staccato;

e mploying the b ow in different parts and finally tw o ve rsions in ,

octaves T h is may do w ell fo r the Paris Cons ervatoire w he re

.
,

a s ubsidy from the gove rn ment places the school in a position to

di cta te any course of study ho w eve r seve re B ut it does n o t
, .

see m ad apted to the w ants and conditions of thi s co untry In .

actual playing and In the co urse of an extended e xpe ri ence per

, ,

haps a fo urth of this n umbe r may be call ed for We do not .

,

then conside r the study of all these bo wings necessary Pro

, .

vi d ed one has acq ui red a ce rtain amo u nt of skill many of the m ,

are only a matte r O f reading .

Finally as to Working Up to Time acquiring Spe ed

,
- -
It is-
,

o ur i mp ressio n confi rmed by expe rience that ti me and e ffort are

, ,

w asted i n atte mpts to play fas t because the po we rs of attenti on

,

and of O bse rvation are dissipate d by the playing of too many

consec u ti ve meas ures ; d issipated to s uch an extent that the
relations hi p of the tones is n o t ca ught as they pass by the ear .

Just he re in lies the g reatest di ffic ul ty of the vi ol i n the tem

pe ring of the tones the adj usting of thei r relationships This is
, .

often sho w n w hen a piani st of expe ri ence and schooling hi s ear ,

and h i s j udgment appa rently established and settled takes up ,

the violin Students of this class have been kno wn to do as

.

badly as the boy w ho plays his firs t scale on the violin Th e .

trouble li es in the adj ustme nt of pitch C ut the exe rcise into .

groups of nin e notes as in E xa mple No 1 or into a variant of the

, .
,

nine note group in whic h the b o w takes up i ts moti on befo re the

finge rs begin as in E xa mple No 2
, . .

The brevity of s uch a group allow s close attention in a slo w

te mpo to the pitch of each tone and to the adj ustment the tem , ,

pe ring of all the tones ; afte r w hi ch th e group may be acceler

,

ated until a high rate of speed is gained But the pow ers of .
 HO W To S T UD Y KRE UTZE R .
15

c riticism may not be allo w ed to flag Af te r several groups .

have been treated in this way and each goes in tune put two , ,

then th ree together at the i nc reased rate of speed starting the

, ,

b o w beforehand on the reite rated note and strai ning the atte ntion
keenly as to the pitch Follow this o ut ; go through the whole .

study in th e same w ay begin to play h abitually i n t un e in a fast

t e mpo .

S TU D Y No . 3 .

m o d erato
C m aj o r 2 A ll e g r o .

O ri gi nal , No . 3 . Massart NO ,
. 2 ; Kro ss No , . 5 Sch ro ed er, No . 4 .

A sequence exercise containing three diffe rent

FING E R S .
,

fi guresfl Th e first figu re o ne of fo ur notes falling by seconds

‘
, ,

th rough tw elve repetitions i s easy In meas ure 4 begins a ri s , .

i ng eight note figu re moving by seconds and quitti ng the firs t ,

shift in meas ure 1 0 Th e R ule : U nless the shi fting fi nge r b e .

also the playing finge r the shifting finge r takes i ts place in the ,

new Shift befo re the playi ng fin ge r fin ds applicati on he re i n

meas u re 1 0 and f ro m this point on ,T h e shifting finge r 2 .
, ,
”
w hich plays the tw o lined g r must move to a befo re the playing ,
’

finge r 4 sei z es its o wn note

, ,
This act is repeated u ntil the ,

descendi ng figure is reached the hand in shifting up w ard me as ,

uring the distance taken by the to u ch of the sh if tin finge r on

g
th e string and by the d raw ing aw ay of the han d f ro m the finge r
,

tips and around the corn e r of the violin An excellent means of .

learning this necessary and fundamental p roced ure is as follow s ,

A seq uence i s th e trans po si ti o n , mo re o r l es s r egul a r , o f a n y gro u p o f no tes . S uch a

gro u p o f no tes is cal l ed a mo ti ve o r fig ur e .

1 Fo r th e sak e o f acc ur acy , th e to ta l scal e h as b een d i vi d e d i n to oc tav es , so -c a l l ed .

E ac h oc tav e b egi ns wi th a C . Th e l o w es t to nes o f th e v i o l i n b e lo ng to th e s mal l oc tav e,

g, a b ; th en fol l o w th e o ne l i n ed o c tav q , c
’
to b’
an d , i n nat ur al co nseq uen ce . th e two , th ree,
— ”to b ” et
, ,

and fo ur li n ed o ctav es c , c.
16 HO W TO S TU DY KRE U TZE R .

the shift note being used as an appoggiatura When maste red .

,

omit the appoggiatura .

'

T wo thi ngs must also be e mphasiz ed he re In sh i fting no

.

higher than the fo urth shift it is c usto mary to keep the th umb
a bo u t opp osite the fi rst o r second fi nge r ; b ut if the shift be ,

h ighe r then the th u mb sho uld be dra w n back in season to allo w

,

the hand to s wing naturally and easily aro und the com er of th e
v ioli n and by ca u sing the fo ur large kn u ckles the roots O f th e
, , ,

finge rs to assume a line as nearly pa rallel as possible w ith an

,

i maginary line draw n dow n the centre of th e finge r board to ,

make it easy to place the fo urth finge r cleanly and acc urately on
the A stri ng F urthe rmore it is necessary to prese rve th e
.
,

volume of tone as one cli mbs U p the fi nger board and this can best ,

be done when the positio n j ust me n tioned is assu med ; for only
this position see ms to all o w the finge r tips to maintain an un
diminished p ress ure o n the strings whe n th e fi nge rs the mselves
from bei ng bent sha rply become extended and lose their sharp
,

angles .

In the fall ing seq uence the fo ur note figure presents less
,

diffi c ulty Hold the first finge r firm in sh i fti ng In measures

. .

1 3 1 4 1 5 i nstead of using th e first shift and the open stri ng

, , , ,

p rese rve the seq uence by taking the fo urth Shift .

It is O ften beneficial to play the risi ng and falling sh ift notes

by the mselves with the shifting finge rs ; th us

This see ms to i mpress the meas ure men ts the spaci ngs on the
, ,

sense and to make thei r performance more sure In closing w e .

w ould lay stress on the fact that th is study is abo ut as i m portant

for the finge rs as w as its p redecessor for the bow M as ter it . .
 H O W T O S T UD Y KRE UTZE R .
17

B ow . in No 2 may be d one he re but it

A nything d one .
,

should be re me mbe red that as this is essentially a finge r s tudy

and the finge r diffi c ulties are conside rably greate r th an those of
th e ho w the b o w req uire ments Sho uld be mode rate
, .

S TU D Y No . 4 .

C m aj o r i (no t i m e s i gn g i v en " .

O ri gi nal , NO . 4; Mas sart NO , . 3 Kross No ,

. 3 Sch ro ed er , NO . 2 .

Aside from one o r two extensions th e fingers have al most ,

noth ing to do Th e b o w has the w o rk

. This study is gene rally .

begun to o soon and w itho ut prope r prepara tion w hich w e may ,

att ribu te to a desi re to learn th is Special bo w ing a desire inhe rent ,

in all violin playe rs ; for the stroke is j ustly p ri z ed as an om a L G -

me n t of great value But stud ied too soon i t has cost many and
.
,

many long ho urs of unavaili ng toil If how eve r the Fifth .

, ,

Fundamental Bo wing w ith all that goes w ith it has been mas
, ,

tered the w ay is clear and one may attack this stroke witho ut
, ,

loss of ti me Fo r at the botto m of the whole thing lies a si mple

.

mechanical p rocedu re and altho ugh special apti tude when pos
,

sessed does help still th e po w e r to artic ulate s taccato no te s

,

strongly and clearly fro m the w rist is the main thing Hence , .

the i mpo rtance of the bo wing j ust men ti oned F urthe rmo re .
,

unde r favora ble circ umstances (w e w o uld e mphasi z e the w o rd ,

favorable " the stu dent will have played and learned a doz en
,

othe r studies and a n umbe r of pieces before maste ring the s tae
cato stroke .

T hose w h o find the U p staccato stroke d i fli cul t often find the ,

d o w n easy ; w hich they may l earn by first playing with the stick
turned to w ard th e face then held straight ove r the string then
, ,
 18 H O W T O S T UD Y KR E UTZE R .

in the norma l po sitio n turned aw ay fro m the face Use all parts
, .

O f the b o w u ntil the mid dl e and poi nt are as free fro m di ffi c ul ty

,

as the butt T he n reve rse things and try the up stroke Th e

.
, .

forearm must be held back in othe r w ords restrained as much , , ,

as possible ; indeed an excellent exe rcis e is that of playi ng with

,

an immovable forearm while the b o w i S carri ed back by the hand

afte r each up s troke ; the slight sound that the recoil makes d i s
appears i n the real stroke and th e gain in many cases is a great
,

one Ve ry ofte n a hand naturally stubborn is by this means

.
, ,

taught the whole tri ck in a short ti me — p rovided the h an d

s t ac cat o the Fifth F unda mental Bo wi ng has been w ell p racti ced
, , .

Th e long accented note at the end of each Sl ur Sho uld be

played sc rupulo usl y in ti me and with plenty of how ; li ke wise , ,

the accented fi rst note in each meas ure .

S TU D Y No . 5
.

E fla t m aj o r 4
A ll e g ro mo d erat o .

O ri gi nal , No 5; Mas sart No , . 4; Kross No ,

. 2 ; Sch roed er, No . 1 .

FINGE R S When played pe rseve ringly w ithout the open

.
,

stri ngs meas ures 6 1 1 1 3 1 9 2 1 contain exceptions

, , the , , ,

finge rs soon beco me stretched o ut ove r the finger board in a

Xnatural and excellent positi on Aside fro m a drill in flats this .
,

see ms to be the point of the study Drive to a rapid te mpo .

eventual ly .

Bow A great vari ety of strokes is both possible and valu

.

able We w o uld recommend as special strokes Nos 5 9 1 0 1 2

.
, .
, , , ,

1 7 1 8 1 9 20 O f o ur revised editi on ( Olive r Ditson Co mpany"

, , , , .
 H O W T O S T UD Y KRE U TZE R . 19

G rand d étaché .

NO S 5 1 0 and 1 2 may be played with the flying stacca to( the

.
, ,

staccato v ol anfl the b ow being us ed at abo u t i ts middl e and

leaving the string partly by means of the hand stroke a deriva ,

tion of th e saltato ; these with the firm or hand staccato will be

, ,

the bette r bowings to first p ractice To o great stress cannot be .

laid on Nos 1 7 and 1 8 w hich sho uld be taken up afte r Study

.
,

No 6 has been mastered

. .

S TU D Y No . 6 .

C maj o r i M o d era t o .

O ri gi nal , No . 6 M as sart NO , . 5; Kross NO , . 6 S ch roed er, No . 7 .

In meas ure 17 begins a seq uence passing th rough the S hi fts

,

3, 4

Mess . 1 7.
20 H O W T O S T UDY KRE UTZE R .

In mea sure 1 9 beginne rs are apt to reach too far for th e

highest note fo rgetting that i t is only a minor second above th e
,

hi gh E and in measure 2 0 the Shift O f o nly a majo r seco nd

,

” — "
e dow to
n d is Ofte n exagge rated by a half tone .

Ve ry h elpful i n playing the three octave scales is a clear

mental picture o f the tones On the E stri ng stopped by the fi rst
finge r Namely : meas ure 2 3 the thirds b
.
, meas ure 2 5 "
, ,

meas ure 2 7 d f These are the s uccessive

,

me mbe rs root thi rd and fifth of th ree triads (a triad i s a three

, , , ,

tone chord" formed on three ri sing and consec u tive scale steps .

They may be played ve ry p rofitably alo ne w i th th e shifting , ,

finge rs as was done w ith a pass age in S tudy NO 3

, . .

In meas ure 29

Meas . 29 .

a free skip Shift is made w hile the open E is played Hold elbow .

w e l l under the violi n Learn to place the h and i n positio n wi th

.

out stopping the strings witho u t to uchi ng the m with the

finge rs The o utside finge rs 1 and 4 Sho uld be in place fo r
.
, ,

the octave e the th umb falling ve rtically against the bu tt

"
,

O f the neck in taking the shift and the fi rst fi nge r being abo u t
,

Opposite the th umb th us acting as a guide to the hand I t

, .
22 HO W TO S T UD Y KRE U TZE R .

S TU D Y NO . 7 .

—A ll e g ro
D m aj o r 2
“ ‘

Or i ginal , No . 7 M assart NO
, . 6 Kross NO ,
. 7 Sch roed er, NO . 6 .

FINGE R S . study has been regarded as a b o w st udy prin

This ,

c i pall y ; b ut i ts val ue fo r the finge rs is al most as g reat as that O f

a ny O f the K re u tz e r studies Th e fingers sho uld be he ld do wn

.

as much as possible ; w hich stretc hes the m ove r the finger board
and gives the m a good shape — a matte r not all done at once ,

b t w
u hi ch once done w ill w ell r epay the st udent f or all hi s pains .

T e h fo u rth fi n ge r exte n sions i n m eas u res 3 5 3 6 3 7 3 8 w ill , , , ,

need special care .

“
BO W As a mar telé study this is one of the finest i n exi s
.

tence It is c usto mary to play the high notes w ith an up

.

how the
,
l o w notes w ith a do w n P r ofit m a
y be h.ad if thi s be
r eve r sed D r
.
a w b o w to ext re m e point ; place it clea nly o n th e

string befo re starting th e stroke Th e u ppe r arm should be

.

fairly immovable perhaps not altogether so ; and must as sume if

, ,
 H O W T o S T UDY KRE UTZE R .
23

w e may SO exp ress o u rselve s the posi tion as the c as e may be

,

fo r the pla ne O f an imagina ry o r act ual inte rmediate stri ng .

T h e U ppe r arm sho uld al S O control by a prope r amo unt of ten

sion the a mpl it ude Of the stroke which must beco me the shorte r ,

the highe r the rate O f speed U se a bold and Sharp stroke ; w ith .

neat beginning and ending Also a vigoro us a ve ry vigorous .

, , ,

hand througho ut Fo r vigor O f right hand and forearm ente rs

.

into all brilli a nt playing TO gai n this sl o w practice and the

.
,

keenest w atching of the tone are req uired Massart recommends .

as the first bo wing the grand d étaché then the martelé and lastly
, , ,

th e sa l ta to.

S TU D Y NO . 8 .

E m aj o r 9 A ll eg ro n o n tr o p p o .

O ri gi nal , NO . 8; Massart NO , . 7 Kro ss NO , . 8 Sch roed er, NO . 10 .

FING E R S Like Studies 5 and 7 this one bri ngs the hand
.
,

o ut ove r the finge r boa rd It has its di fficulties the sharp key
.
,

and so me extensions and contractions of the fourth finge r But .

the main thi ng is to first get the intonation correct ; then one
may drive the te mpo all the ti me keeping the finge rs w he re they
,

belong Whe n maste red a marked i mprove ment in the shap i ng

.
,

and the readiness of the ri ght hand w ill be apparent Maste ry .

means ho w eve r a pretty go od rate O f speed and as a general

, , ,

thing thi s st udy is in this respect neve r h alf learned ; it is given

, ,

U
p too soon and its r
,eal good is n eve r e njoyed by the p upil .

BOW P ractised at the extre me point O f the b o w a fair

.
,

S peed mean s the acq u i re ment O f a light and ready running b o w

ing O f great val ue T he sl urri ngs are useful b ut most useful in

, .
,

gene ral playing is this light running stroke at the poi nt In .

c rossing th e strings the hand must move freely fro m the wri st .
 H O W T O S T UD Y KRE U TZE R .

If practiced e no ugh this stroke w ill beco me e xceedingly neat

,

and clean ; ni mble indeed ; a great o rna ment i n one s pla i ng

’
, y .

Th e spiccato is recommended by Massa rt also diffe rent forms of ,

taccato ; O f these to o u r mi nd the staccato volant is the most

, ,

u sef ul and in th e fol lo wing form

,

The part played by the ri ght hand in this bowing must not
be overlooked It is not a stroke depe nding in the first degree
.

O n the elasticity O f the stick and in th e second degree on the ,

f unction of the hand but j ust the reve rse For as i n the cas e .
,

O f the S piccato an adept w ill pe rform it fin ely w ith a mise rable

,

b o w devoid Of elasti city

, Th e fi rmly artic ulated sl urred staccato
.

is necessary at first in playing which the wri st must cause the

hair to cling to the s tri ng ; when the w rist pe rforms its fu nctions ,

rega rdl ess of the changes O f s tri ng the staccato volant will not ,

prove di ffi c ul t .

STU D Y NO . 9 .

— A ll e g r o m o d er a to
F m aj o r é : .

O rigi nal , NO . 9 ; Massart No ,

. 8; Kross NO ,
. 4 Sch roed er, No . 9 .

FINGE R S Although preparatory to the trill stud ies and in a

.

sense th e fi rst O f the m it is evident from the res ul ts O f its prac

,

tice that this study was w ritten w ith nrore than one p urpose in
vie w ; the frequent changes in the place of the half tone Often at ,

each alte rnation O f stroke make it an intonation st udy of the,

highest o rde r Th e ele ment O f fi rst i mportance th en i s the

.
, ,

spacing of the fingers To fix this i n the mind the whole piece

.
,

may be played profitably wi th o ut the bow simply by placing th e ,

 HO W TO S T UD Y KRE UTZE R .
25

fi nge rs fo r each fig u r e S i mu l taneo u sly on the st ring . T h us

meas ures 1 3 5 7 9 1 0 w ill give this
, , , , , ,

si xshifts in taking w hich S hifts the first finger which does most
, ,

f the w ork must be firm and sure

,
.

It has also been found u sef ul in orde r to furthe r e mphasiz e ,

this i mportant detail of shifting to play si mply the first note of ,

each shift with its p rope r fi nge r Th us .

Practiced faithfully these p repa ratory exe rcises save time , .

Fo r the in tonatio n i n the many shifts being a ss ured the attentio n

, ,

may be give n u nd i v i d ed lj to relaxi ng the han d and to gaining in

r

the shortest ti me that speed flexibility and e nd urance w hich are , ,

so me of the ai ms ( this study

f
.

Pe rseve re untr the finge rs gO The re are places whe re the

. .

hand w ill c ra mp or w he re it does not see m to fit th e stri ngs

,

e asily T ake the se slow ly and with a relaxed hand and re me mbe r
.
,

that this stu dy w ith all the good s tored u p in it may n o t be

, ,
r

learned in a short ti me and that the finge rs wi ll not feel al l th e

,

good ri ght away

F urtherm
.

ore gratif ying su ccess has attended the use of two

,

othe r meth ods T h e one is to play the study w ithou t the b o w

.
,

striking the finge rs a udibly on the finge r board b u t avoiding any ,

c ra m p ; the othe r is to play th e study w ith the b o w as w ritten , ,

and to hold do wn the u n used finge r in each sl ur on a neighbor

ing string Of the forme r method much may be made ; Of the

.

latte r a little w ill s uffi ce

, .

Bow Aside fro m the presc ribed slur the spiccato and the
.
,
 26 HO W To S TU D Y KRE UTZER .

saltato are excellent no tably the for me r stroke ; also that light
,
,

runni ng b o w at the point reco mmended for the p recedin st u dy

,
g ,

and a slurred variant O f two do wn and ten up how notes stac ,

cato on the up b ow at will , .

S TU D Y No . 10
.

— M o d erat o
G m aj o r i
i .

Original , No 1 0
. Massart NO , . 9; Kross No , . 9 ; Schroed er, NO . 11 .

FINGE R S . Meas ure 4 Fi fth shift

taken by S kip from the first shi ft ; o r fro m the thi rd shift ,

thi s th ird shift being taken as a gO betw een a poor proced ure -
,

b ut one th at is at ti mes recommended to awkw ard p u pi ls In .

“
eithe r case the fi rst finge r takes j g on the A string before o r "
,

'
w ith the fo urth finge r th e O ctave f
fi f ,
bei ng th
. u s seiz ed by ,

the octa ve finge rs I and 4 T O reach for the highest to ne with

, .

the fo urth finge r and to th en dra w the rest of the hand afte r th is
,

finge r is unce rtain and hence wrong ; the hand S h o uld go into a
,

position with any finge r ready to take i ts o wn tone natu rally and
'
in tune Furthe rmore as the prece di ng figure fits the octave d
.
, ,

” ”
d so this figure fits i ts ow n oc tave f t f f and vie wed in one
, ,
"
,

'

light all the free Shifts in the st udy are shi fts to octaves G onse .

quently as much care must be given to the firs t as to the fo urth

finge r the fi rst finge r taking its place by a free skip or moving
, ,

along the string as a guided shift f ro m some low e r positio n .

 HO W To S T UD Y KRE UTZE R .
27

Meas ure 13

Six th shi ft taken Two methods . guided s kip shift the first
” ”
finge r moving from d to g along the A string ; or free skip shift ,

the hand moving U p ward witho ut the guidance of any finge r

u nti l the hand and finge rs are ove r the prope r place Th e first .

method is the bette r one to begin with If now the elbow be .

, ,

brought w ell around and the kn uckles are in proper line w ith the
finge r board it will not be diffi c ult to finge r this w hole passage
, ,

so me tw o or more measures in th e sixth position the first finge r

, ,

clingi ng to the string and c rossing the finge r board on the tones
the fi ge s d falling as cleanly and fi rmly on
’ "
g c j ,
’
n
, r 3 an 4
th e G string as on any othe r stri ng ; this depends how eve r on , ,

getti ng the elbo w ro und to the ri ght and on holding the hand ,

suffi cie ntly high Hold do wn the finge rs 1

.

Meas ure 1 7

Skip to fifth Shift Th e fi rst fi nge r may pass u p the A string

.

”
to f this Sh i ft being taken freely by S kip or one may place the
, ,

fi rst fi nge r o n f on the E string and use a g uided skip shift to

,

w hen it w ill be easy to place the fo urth finge r in t une We .

prefer the free Skip shift the first procedure in which the firs t
, ,

and fourth finge rs gO to the octave f ,

"

Th e special good Of this study lies in the b roken chord an d ,

in the free Shift Only afte r the finge rs are at home is it wise to
.

take any b ut the plainest bowi ngs Massart gives a few ve rsions
.
,

th e most useful being a sl urred staccato O f the 1 6 th note gro ups ,

which may be played with a fi rm o r a flying stroke .

28 HO W TO S T UD Y KRE U TZE R .

S TU D Y No . 11 .

— A n d an t e
E m aj o r
2 .

O ri gi nal , NO . 11 Massart NO
, . 10 Kross No , . 11 S ch roed er, NO . 6 .

Th e bject he re is not only to get a good legato b ut to shift

O ,

w ithou t alte ring the relati ve holding O f th e finge rs one to

anothe r ; in othe r w ords : to shi ft with the hand and not with the
finge rs One freq ue ntly sees a h and w hic h has played the fi rs t
.

t riplet in t une move to the third Shift w ith the finge rs 2 and 3
,

h uddled closely togethe r or c ro wded agai nst the fourth finge r .

T h is is w ro ng Fo r to play in tune afte r gaining the ne w shift

.
, , ,

the finge rs if held thu s must be first dra wn back to their p rope r
places before they may be used ; wh ich means unnecessary
motion ; and in the mechanics O f the best vro li n playing as may ,

be Obse rved unnecessary motion is excluded q uite as rigidly as

,

in a fi rst class machine o r engine TO obviate this fault e mploy

.
,

the R ule as to the shi fting finge r until the finge rs h ave become
independent and set ; th us

Care must be taken of the thumb which as the rud de r of , ,

th e hand stays behind the finge rs and moves abo ut freely

, Hold .

violin tightly by the chi n Th e hand must be free

. .
30 H O W T O S T UD Y KRE UTZE R .

We have he re th e first O f the do uble stop studi es Let us .

emphasiz e th is fact t h e fi rs t o f t h e d o u b l e s t o p s t u d i e s And .

let us say furthe r that if instead Of playing the book straight

, ,

thro ugh in i ts n ume rical order S tudies 1 to 4 2 as is us ually done

, , ,

the pupil after finishing thi s stu dy takes up slowly and by bits
, ,

th e much dre aded last ten st udies follow ing the directions given ,

in NO 3 2 he w ill save much ti me and w ill be the gainer in the

.
, ,

end and will have the satisfaction Of feeling that these s tud ies
,

are littl e if any more d ifl

, i cul t than many othe rs in the set
, .

FINGE R S R educe the figures to their lo west te rms to the

.
,

bare chords th us ,

and play the study th rough as a p ure chord study Hold down .

the fingers E xcept w he re a shift is made one finge r sho uld

.
,

help the other in finding its place Th us in meas ure 3 finge r .

, ,

4 is gui ded and made s ure of in tonatio n by the to uch on finge r

3 held do wn on the next string
,
In those meas ures whe re the
.

figure does no t requi re three strings w he re it fits two strings , ,

as in the fifth meas ure the tw o u ppe r tones Of each figure may
,

be played B ut if o ne w ould play in tune the s trings must be

.
, ,

w ell gauged ; indeed to play on strings w hich are not prope rly
siz ed is to do one s self a positive ha rm Finally so me exacti ng
’
,
.
,

ex tensions occ ur Hold d ow n the fingers

.

Bo w A great varie ty O f strokes is given by Kross and by

. ,

Massart Af ter learni ng the original bo wing which req ui res a

. ,

loose wrist with the bow at the poin t the slurred and the stac ,

cato three stri ng arpeggios may be practiced Play the staccato .

arpeggio with the b ow held on th e stri ng hand s taccato u ntil , ,

the w rist artic ulates then atte mpt the bo unce concentrating the ,

t
s r oke so to,
spea k by avoi di ng a long b o w,
w hile accenti ng th e ,

first note in the up stroke un til both hand and sti ck respond .
 HO W T O S T UD Y KRE UTZE R .
1

S TU D Y NO . 14 .

A m aj o r f M o d erato .

Original , No . 13 ; Massart No , . 12 ; Kross NO ,

. 12 ; Sch roed er, NO . 14 .

FINGER S An i ntonati on stu dy Of the first orde r wh ich

.
, ,

after the finge rs begin to go may se rve to develop the b ow , .

Hold the finge rs close to the strings thro ugho ut .

Measures 92 1 0 and 1 1 ,

In meas ure 9 three exte nsions occ ur ; tw o fro m the fi rst

,

shift (easy" and one from the fif th Shift (diffic ult" the hand in ,

this latter case s winging around the com e r finge r 1 falling o ve r ,

the tone the finger 4 being at the same time extend ed for th e
hi gh note In meas ures 1 0 1 1 th e changes Of shift are made
, ,
” "
by sliding the fi rst finge r ove r the tones c and d to e Th e "
.

fourth finge r must not reach o ut in to the new shift and draw the
hand after it ; the whole hand must move the shifting fi nge r ,

taki ng i ts to ne first Of all T his te chnical p roced ur e we have

.
32 H O W T o S T UDY KRE UTZE R .

eady di sc ussed ; b ut the frequency with whi ch one mee ts wi th

al r

faulty shifting prompts U S to again men tion it .

Meas ure 25: T he second finger Shifts fro m g in the fo urt h

ro u to as the s hi fti ng finge
g p r .

Meas ures 4 0 41
,

Swingthe hand freely aro und the corne r i n Shifting u pward .

D ra w the th u mb back before going into the third shift We

.

w o uld mention again in this connection that many of th e best

, ,

violinists play w ith the th umb ben t f reely backw ard behind the
h and the neck O f the violin resting on the th umb instead of
,

be i ng pinched betw ee n the th umb and the base Of the forefinger .

Su ch a holding facilitates the playi ng O f a passage like thi s one

in question ; it allo w s the hand to move freely and with the least
hinde rance F urth e rmore w e w ould say that in extensions
.
, ,

except i n those which follow the O pen string some lowe r fi nge r
,

must be held dow n to keep th e hand in place This di ffi c u l t

.

study sh ould be played u ntil flexibility has been gained SO .

c onside rabl e are so me O f the di ffi c ulties that to maste r the m

means a decid ed gro w th of ear .

Bo w . TO pe rform the given bo wing prope rly a mou nts to

,

possessi ng a good smooth tone economy of stroke and a light

, ,
 H O W T o S T UD Y KRE UTZE R .
33

ness Of wrist wh ich fits the b o w to the many changes of stri ng .

Th e saltato and Spiccato strokes are recommended ; also and ,

especiall y that light running stroke at the poi nt reco mmended in

,

S tudy NO 8 .P re paratory to th e spiccato play assiduously w ith

.
,

the h and stroke causing the hair to cling closely to th e s tri ng

, ,

to search it out as i t w e re This gives the wrist practi ce i n

,
.

that elliptical move ment without whi ch no one can play thi s
S piccato stroke in this stu dy A S a study for thi s especial b o w
.

ing this is one Of the first in the lite rature and the student will
, ,

do w ell to apprec i ate i ts importance .

S TU D Y No . 15.

— A ll eg ro
B flat m aj o r f: n o n tro p p o .

Ori gi nal , NO . 14 ; Massart NO , . 13 ; Kross NO , . 1 5; Sch roed er , NO 15

. .

S pecial ai m:
to develop a third finge r trill Rapidity or .

clo se ness of heat is O f no i mportan ce he re O f no cons eq uence for ,

some time Th e desideratum is a se ries Of perfectly even beats

.
,

easily and freely made an act i n w hi ch the finge r springs like a

,

fl as h to do the co mmand of the will T his may be gained onl y .

by slow prac tice especially of th e following variant

SO much end urance must be acquired th at the fi ngers remai n

un j aded at the end O f the study Furthe rmore do not gras p the .
,

string tO O firmly Sti fi ness may result from thi s as fro m too
.

much tri lli ng Q uality O

. f prac tice S ho uld be striven for rathe r ,

than a q uanti ty of notes and th e s tudent sh ould never forget

,
34 HO W To S T U D Y KRE UTZE R .

h
t at a go od tri ll is a matter of grow th and that all healthy growth ,

takes its o wn ti me and cannot be forced .

The re are measures whe re the hand will feel ti ght a wkw ard '

, ,

const ained ; practi ce these S lo wly w ith a loose hand until they
r

go We do not advise a Short trill ; at least eight notes in the

.

tri ll and t urn will repay best We cannot see why this study
.

and th e follo wing st udy sho ul d be pl ayed with short spas modic
trills as is us ual ly the case One charm Of the trill is that it
, .

may begin i ts w arble insensibly as it we re and not w ith an , ,

ac cent .We believe also that the accent h inde rs the fi nger
, ,

a ction and that the too early st udy of the short trill is inj urio u s
,

t hat it ten d s to give many han ds a c ramp ; and we h ave fo un d

th at whén the finge r has become free and ready it w ill make a ,

S hort tri ll w ith little study .

S TU D Y NO . 16 .

D m aj o r 2 -
Mo d erato .

O ri gi nal , No . 1 5; Mas sart NO

, . 14 Kross NO ,
. 16 Sch ro ed er, No 16
. .

We have found that this study also yields th e best return if

practised slowly w ith quite a long trill ; as follows

T h i s meth od does aw ay with the harmful c ramp trill Of one or

two beats ; whi ch may be learned very q ui c kly and safe ly wh en
 H O W T O S T UD Y KRE UTZE R .
35

the long tri ll is easy and w ithout any dange r O f stiffening the
,

finge rs T his method also gives beats enough to call for a sus
.

tai ned and even efi ort which w e have fo und to be unequalled in

,

loosening and stre ngthening th e fourth finge r .

As in the p receding study there are places w he re the finge rs

go hard ; not S O much from w eariness as from a ce rtain awkw ard
ness of position O f the hand and finge rs Play s uch places sepa .

rate ly w ith relaxed hand .

Massart gives the follow ing e xcellent variant w h ich may be ,

played S piccato o r legato with the hand stroke uni fying admira
, ,

bly the b ow and the littl e finge r .

S TU D Y No . 17 .

B fla t m aj o r M ae s to s o .

O ri gi nal , NO . 16 Massart NO , . 16 ; Kross NO , . 1 9 ; S ch roed er, NO . 17 .

Th e nion O f a bold martelé stroke w ith an easy clear and

u , ,

brillian t trill fig ure makes this an inte resting and valuable

,

st dy If these
u . tw o m —
ele ents are known beforehand and they
Sho uld be i n the nature O f things — the study may be lear ned
,

q uic kly Let the trills be eq ually fl uent throughout Play w ith
. .

vigo rous hands and finge rs Th e trill figure may be furthe r de

.

v el o ed th us
p ,
36 HO W T O S T UDY KRE UTZ E R .

STU D Y No . 18 .

G m aj o r Mo d er ato .

O rigi nal , NO . 17 Mas sart No , . 17 Kross No , . 2 0; Sch ro ed er, NO . 19 .

R eq uiresgreat e ndurance Of fi nger th e trills on the G string ,

tiri ng the hand ve ry quickl y All trills in the shi fts 3 and 4 on .

the two back s tri ngs must be played Slo wly and w ith a loose
,

hand until easy As in the othe r tri ll stud ies th e learne r w ill
.
,

come ac ross places w h e re his ha nd will feel helpless aw kw ard ; ,

d ue to position of the hand and ve ry p robably i n th is study tc

, , ,

w eariness O f finge r Play slo w ly We repeat a p revio us state

. .

ment a good tri ll is a matte r Of grow th He nce a little a d ay .

is much bette r than any strenuo us efi o rt to take the trill by

storm and to th u s learn it in a Sh ort ti me .

We t ak e h er e , t o r e co m m e n d wh at may to
o c c as i o n
many seem a b o ld i nnov ati o n , namely : t h e b e g i n n i n g o f th e
d o u b l e -s t o p s t u di e s a t t h i s p o i n t i n t h e c o u r s e T h ei r .

po s i ti o n i n th e o ri gi nal ed i ti o n d o es not argue th at th e d oub l e-stop

wo rk must b e taken up after th e o th er w o rk h as b een d one . Nor
d o es th e fact th at nearl y every sub seq uent ed i ti on pre sents th ese ten
stud i es as th e end O f Kreutz er d efend sati sfacto ri ly th i s pl ace at th e
end o f th e co urse . E xperi ence h as Sh o w n th at, asi d e fr o m th e fact
th at th ese stud i es are no more d iffi c ul t th an many of th e pas sages in

si ngl e stoppi ng, i f th ese d o ub l e- sto p stud i es b e b egun no w , th ey wi l l

act as a reli ef to th e many tri ll stud i es , and th e pupil w i ll i n th e

nature O f th i ngs d evo te many mo re weeks to th e consi d erati o n o f

two- stri ng pl ay i ng th an i s o rd i nari l y th e cas e , and ,

fro m th e el e ment
Of grad ual gth us fostered , w ill pl ay th em b etter th an if ta en
ro wth k
at th e end O f th e co ur se and i n co seq
n u en ce w il l l i fe-
l o ng b e th e

gai ner th ereb y .fact th at th ey come at th e end O f mo nth s

Th e very

Of stud y i n Kreutz er, causes no t a few sch ol ars to sl igh t wh at sh oul d

b e gi ven pl enty of ti me If th ese stud i es w ere more d i ffi cul t, or far
.

mo re d iffi cul t, th an th o se wh i ch preced ed th em, to o ur way of th i nk

i ng th ere wo ul d b e all th e mo re reaso n for b egi nni ng th em b etimes .
38 HO W TO S T UDY KRE UTZE R .

Th e q u iet carri age of the hand and of the finge r to i ts p rope r

,

place must eve r be borne in mi nd ; it is absolute ly necessa ry is

, ,

the thing O f fi rst i mpo rtance If the finge rs are to w ork well
.

the re must be no clu tching also no h urried cha nge Of shift

, .

Play the variant above given fi rst with the hand bow ing , ,

patie n tly and slow ly When it goes the Spiccato may be tried
.
,

and that light running stroke at the point me ntioned so many

ti mes Afte r this and lastly the sl ur And w hen this variant
.
, , .

is easy the othe r variants may be trie d the one begi nning with
, ,

the a uxiliary note O f the tri ll being for many b and s very awk
w ard and tro ubleso me th ro ugh th e inclination to cl utch t h e
,
‘

—
stri ng nervo usly i n Shifting the ve ry thing whic h sho ul d be
avoided .

This ve ry excellent study is us ually neglected Th ro ugh i ts .

neglect the h and is deprived of that pe rmanent strength and of

that freedom which w i ll s urely come fro m study suffi cie ntly pro
longed and contin uo us T o play it witho ut slurs uni fies the
.
,

b o w and the finge rs re markably and to play it w ell in this ,

w ay means to possess both brilli a ncy and fl uency Of a ve ry u seful

kind If w hat o ne may learn fro m a study defi nes i ts characte r
.
,

thi s neglected study is one O f th e ve ry fi rst i n the entire set .

S TU D Y No . 20 .

— (n o
A m aj o r i ti m e s i gn " .

O rigin al , NO . 19 Massart NO
, . 18 ; Kross No , . 2 4 ; Sch roed er, NO . 21 .
 HO W TO STUD Y KRE UTZE R ’
.
39

Al so one Of the best st udies in the book Play it first without .

the tri ll as a plain scal e stud y ; fo r as s uch it is un rivalled and

,

se rves as a fine d ril l in taki ng free shifts and in c rossing the

fi nge r board Massart treats it with vario us bowings as a tri ll
.
, ,

and as a scale study Of th ese bo wings a sl urred staccato of the

.

sixte enth notes and the S piccato stroke are the most useful
, ,
.

Also if played without trills and w ith a vigorous forearm stroke

m
,

in rapid te po this study w ill give when mastered boldn ess and
, , ,

clearness espec i ally if beg un wi th an up how ; but the D and

,

G s trings must be made to yield thei r tone in these high shifts ,

even if one has to force the m a little .

As to the shifting w e can say nothing bette r than that the

,
.

fi ng e rs 1 and 4 the S O called oc ta ve finge rs must both take thei r

,
-
,

pl aces at e ach change Of shift ; in othe r w ords th e hand goes to ,

the shift as if an octave w e re to be played If now the o uts ide .

, ,

finge rs are in tune the othe r meas ure ments are easy B ut bring
,
.

th e elbo w w ell aro und to the ri ght that the back stri ngs may be
finge red wi th facility and hold do w n the fi rst finge r as much as
,

possi ble W h en the scales go s moothl y ad d the tri lls The fin

.
, .

ge rs sho ul d w ork cleanly and vigorously ; and no matte r what

the positi on they should not chafe against one anoth er
, .

STU D Y NO . 21 .

D m aj o r — M o d erato .

ll
tr tr tr tr tr

O ri ginal , NO . 20 Massart NO , . 19 Kross No ,

. 1 7 ; Sch roed er, NO . 20
.

A co mpanion to No 1 9 in that finge rs 3 and 4 are called on

.
,

to do the Shifting and tri lling If NO 1 9 is known this study . .

,

w il l be easy to play Utiliz ing it in anothe r way and besides

.
,

making th is a good sl urred staccato study by repeating e ach tone ,

40 HO W T O S TUD Y KRE UTZE R .

M as sart gives some exceedin gly valuable triplet vari ants wh ich ,

ai m at lightness and rapi di ty and rep resent a phase O f techni q u e

that the violinist w ill find indi s pensable We recommend these .

variants as more val uable than any trill p ractice .

sp i ccato .

ST U D Y No . 22 .

A fla t m aj o r Mo d era t o .

O ri gi nal , NO . 21 Massart NO
,
. 2 0; Kro ss NO , . 23 Sch roed er, No . 22 .

We have neve r seen any S pecial me rit i n this study and w ould
not advise the stude nt to Spend mu ch ti me on it If the fore .

going st udies have been w el l lea rned this one may be despatched ,

very q uickly .

S TU D Y No . 23 .

4
B flat m aj o r 4
A d ag i o .

Ori gi nal , NO . 22 ; Massart, NO . 21 ; Kross NO ,

. 26 ; Sch roed er, NO . 23 .
 H O W T O S T UDY KRE U TZE R .
41

Most scholars because they atte mpt too great a run at first
,

and in S O doing fail to hea r w hat they are playing go to pieces on ,

this study and waste both time and strength and often at last
, ,

regard its su ccessful pe rfo rmance as proble matical B ut if .

,

fo r instan ce the first and seco nd cadenz as be broken as follo w s :

, ,

No . 1 .

and be then togethe r the results will be most satisfactory

put , .

For th e d i fi erent ele ments of these runs w ill then have bee n con
si d ered in detail which expe rie nce has S h o wn to be the q u ickest
,

way to master the m Furthe rmore although the ge ne ral i mp res

.
,

sio p evails that the cade a is a ru n without ti e

n r nz m — w hich may
i n a se nse be true to the learne r it is not a run w itho ut acce nts ,

altho ugh these accents may b e hidden in the gene ral s w eep of the
whole thi ng In many o f the runs the first note is tied ; this tied
.
42 H O W T O S T UDY KRE UTZE R .

note is the accent ed note notwithstandi ng and the note which

, ,

follow s it the u naccented note Th e accentuation Of the triplets .

is plain In those meas ures in even note s w hich begi n witho ut a

.

ti e accent the fi rst note

, .

As to the b o w ; it is w ell to break the slurs u ntil each r un

goes s moothly T hen play as w ritte n and spare the b o w at the
.
,

begin ning of each stroke Furthe rmore the study of a s we ll and

.
,

a dimini sh in each slur will give ski ll I ndeed th i s Study sho uld .
,

be preceded if O ne w ould extract all its good ness by a careful

, ,

conside ration O f St udy NO 1 ; the scholar w ill then have a long

.

bo w at his co mmand and may d evote hi mself w itho ut dis traction , ,

to hi s fingers .

STU D Y No . 24 .

G mi n o r 2
4 A ll e g ro .

O rigi nal , No . 23 Massart No , . 23 ; Kross NO , . 27 Sch roed er , NO . 24 .

seful and time saving to play this study

I t has bee n fo und u

all thro ugh as a single finge r study ; as follow s

 HO W T O S TU DY KRE UT ZE R . 43

Thi s means, to play all the U ppe r n otes w ith the proper finge rs as ,

if octaves w e re being played and then the lo wer notes in the ,

same manne r Afte r the thing goes w e ll put the fi nge rs to geth e r
.
,

and play the study as it stands T his method helps many b and s .

to learn the meas ure men ts most qu ickly B ut we w o uld w arn .

the en th usiastic student against any prolonged p ractice Of this

study ; and w arn h i m earnestly tO O For the fingers are easily , .

made stiff and a little practice at a ti me is the best an d safest

,

plan i s th e only safe plan The diffi c ul ty Of thi s study is

, .

and no e x tra bo wing see ms necessa ry o r possible .

S TU D Y No . 25 .

m aj o r — A ll e g ro m o d erato
G
T .

Ori gi nal no t i ncl ud ed

( i n th e “Fo rty Stud i es Mas sart NO , . 22 Kross ,

NO . 21 S ch ro ed er , NO . 25 .

Study in the same way as NO 24 Diffi c ulty slight The . .

, .

scholar wh o has learned the foregoing studies more than half

way must have unconscio usly played octaves for so me time ; for
,

th e free shifts in Nos 6 1 0 1 4 and 2 0 if played properly are

.
, , , , ,

noth ing more than octav es taken by the oc tave fingers even i f ,

not soun d ed SO let hi m take up and finish these two studie s

.
,

with the ass urance Of s uccess B o w varian ts are s uggested here

.
,

and th e saltato stroke is as good as any .

44 H O W T O S T UDY KRE UTZE R .

STU D Y No . 26 .

E fla t m aj o r
2 M o d erat o .

O ri gi nal , NO . 24 ; Massart NO , . 24 ; Kross NO , . 2 8 ; S ch ro ed er , NO . 26 .

S kip shi f ts ,
scales extensions and finge rs held do wn and o ut
, ,

o ve r the finge r board are the features O f thi s study

, In crossing .

the finge r board i n high Shifts bri ng the elbow we ll aro und to th e
,

right a nd place finge rs 3 and 4 on the stri ngs w ith es pe cial care
,

and strength for these are the fingers whi ch gi ve most trouble i n
,

th e higher positions .

Me as ure 20:

to fo urth shift ; let the th umb strike th e bu tt O f the

S kip
neck g uiding the hand afte r w hich the th umb may be dra w n
, ,

back to allow the change to the S ixth Shift in the next meas ure .

S o me the extensions are aw k wa rd and are made m ore easy

Of ,

by be nding the first finge r backw ard and side w ays from the large
k nuckle o r the tenths may be changed to octa ves .

By pe rsistent study learn to dri ve this at a rapid pace and ,

p l ay w ith a bold and vi go rous str oke Massart gives seve ral .

bow i ngs of which we w ould s uggest the grande détaché the

, ,

spiccato and the saltato and th e firm forearm stroke al so as 01

, ,

e xcee di ng val ue the ru nni ng point stroke

, .
46 H O W T O S T UD Y KRE UTZE R .

sl urred leaps to high notes the ma ny extensions that must be ,

mad e so neatly that they are unnoticeable all going to p rove this , .

The re are fe w thi n gs that require disc ussio n ; unless possibly

the long rising leaps in w hich the R ule as to the shifting fi nger
,

loses its force the hand travelling freely upward until the posi
, ,

tion being fo und the fi nge r seiz es the stri ng In all exte nsions
, .

the unde r finger must be held do wn fi rmly .

S TU D Y No . 29 .

D maj o r M o d e r at o .

O ri gi nal , NO . 27 Massart NO, . 26 Kross NO , . 10 Sch ro ed er , NO . 29 .

Th is study the last of the single stop legato studies has been
, ,

given the tenth place in the K ross edition And as the tenth .

study it may be played b ut s urely not with th e hope O f extract

ing all i ts goodness Massart gives it the regular place w hich
.
,

w e prefe r and ci tes tw enty nine modes O f playi ng the most d i ffi

,
-
,

c ult being a transpositi on an octave highe r which with the like , ,

transpositions O f othe r of these stud ies is the afi ai r O f one w ith ,

an esta blished and co nsiderable techniq ue wh o reconside rs these ,

studies w hen a mature playe r TO apply so me Of the bo wi ngs is .

,

how eve r hi ghly profi table On acco unt O f the constant change
, .

of stri ng the hand stroke may be studied with great be nefit and
, ,

fro m it w hen the w ri st has become li mbe r stro ng and q uick

, , , ,

may be gained a clear spiccato Patient pe rsis te nce is necessary . .

T he bo unce on one stri ng is easy ; it is the constant ch a nge of

stri ng to w hich the wrist must fit itself t hat forms the diffi culty
, , ,

and the b o w w ill not bite the stri ng unless a s upple w ri st has

fi rst caused the hai r so to Speak to search o ut the stri ng Th e

, ,
.

s altato and the li g ht r un ni ng fo rearm stroke are reco mmended .

 HO W To S T U DY KRE U TZE R . 7

B ut, in NO 2 7 to play this study in a rapid tempo re quires a

as .
, ,

cleve r and ve ry ready left hand And to acq ui re this means .

,

w ork .

S TU D Y NO . 30 .

— M o d er a t o
B fla t m aj o r g .

O ri gi nal , NO . 28 Massart NO,

. 28 Kross No , . 30 Sch roed er, NO . 30 .

TO —
be gained a brilliant fo rearm stroke so me extensions , ,

three and fo ur string chords broken into arpeggio fig ures wrist

-
,

endurance clearness of tone i n the fo urth position and last b ut

, , ,

not least fulness of tone all across the violin The how should
, .

take firm hold Of the stri ng thro ughou t ; the thumb and finge rs
O f the b o w hand h ave thi s to care for and not the elbo w which ,

often in this study goes into the ai r tightens and tries to share
, , , ,

in the maki ng Of tone and in the change Of st ring Massart give s .

this study altogethe r witho ut sl urs this if one w o uld play ,

clearly ce rtainly calls for a ve ry clean clinging and biting stroke

, , , ,

and is far from easy alth ough beneficial to the arm K eep at .

the point thro ugho ut Th e broken chords may be played in two

.

w ays ; th us in meas ures 1 3 1 4 ,

S TU D Y No . 31 .

C mi n o r 2
‘ ‘
A l l e gr o .
48 HO W To S T UD Y KRE U TZE R .

O ri ginal , No . 29 Massart No , . 29 ; Kross NO

, . 31 Sch roed er NO
, . 31 .

Th e points he re are : the half tone a S hort rapid trill and a , , ,

v igoro us and especially tough and end uri ng forearm stroke To .

play well in a slo w te mpo ought to give little trouble ; but to

play it only fairly well at a rapid rate means a great deal For , .
,

if taken up to time both the half tones and the tri lls are ve ry
,

d iffic ult .

It may help th e matte r of i n to nation if the student know s

that the chord stru cture al most thro ughout is ve ry S i mple and
, ,

apparent T hus this fig ure

.
,

is the backbone of me as ure 1 each me mbe r of this C minor chord ,

being p receded by its minor unde r second as a fo reign tone

what so me theoris ts call an appoggia tura If the chord tones are .

kno wn the appoggiat uras gene rally minor seconds th ro ughout

, , ,

no t major are easy to play, Hence it is advisable to go over the .

w hole study seve ral times playing only th ese pri ncipal tones the
, ,

second tone in each two note sl ur then when these tones are i n
-
,

the finge rs it will be easie r to learn the st udy in i ts entirety

, .

Passages w itho ut these appoggiaturas may be o mitted when

fo und as in meas ure 4 2 fo r instance
, ,

Only dilige nt w ork w ill make the fingers q uick and ready ,

e ven w hen the cho rds are kno w n and the intonation is estab
l i shed .
 HO W TO S T U D Y KRE UTZER .

S TU D Y No . 32 .

F maj o r A nd an t e .

Ori gi nal , No . 3 0; Massart NO ,

. 3 0; Kross NO , . 3 4 ; S ch roed er , NO . 32 .

For the b ow a fine legato study ; for the finge rs a maste r

, ,

"piece in extensions not to mention the do uble string w ork

,
-
.

There is nothing new to say abo ut shifti ng B ut w e may call .

attention to the part played by the fourth finger Fro m the ve ry .

beginning this finger mu st go firmly and boldl y to its place i n

the new Shift and the thi rd finger must measure from the fo urth
,

finge r its major or minor si x th ; it is accordingly the fourth finge r

th at takes the new position not as is O ften done by scholars ,

the third finge r the under finge r in the shif t Th e sl ur may be

, .

broken indeed the be st way to study this at first is to use eight

,

s trokes i n the meas ur e This allows one to get the fi ngers in

.

shape before thinki ng of the study O f a legato which is a ,

secondary ele ment .

From thi s study should be gained inc reased volume and

p urity Of tone a to ugh true and ready fourth finge r and i f w e
, , , , ,

may so e x p ress o urs elves an adaptability of the finge rs to fit ,

the mselve s to the strings to the finger board w hich wi ll make ,

-
,

all the follo wing do uble stop studies in a meas ure easy Still
-
, , .
,

r
w e believe that this study Sho uld be preceded by NO 3 4 indeed .
,

the preparato ry exercise for tw o or more strings w as NO 1 3 .

,

alread y disc ussed .

We must say agai n and we w ould lay stress on o ur w ords

, ,

that these double stop studies should not be put Off un til all th e
-

S ingle stop st udies have been taken

-
NO 3 4 may follo w ve ry . .
,

nicely and naturally NO 1 3 ; afte r w hich No 3 2 may be taken

, . .
50 HO W To S T U DY KRE UTZE R .

w ith s uccess ; and if these double stop st udi es are th en carri ed -

o n little by little ti me w ill be s aved and the learne r will not look
, ,

forward to the end of K re utz e r w ith dread a dread unfo unded ,

an d u seless and O ften pa ralyz ing in its e ffect

, T hese l ast studies .

are easie r than mu ch that p recedes the m We base this state .

ment on the su pposition that the st udent h as been trained to hold

his fingers p roperly ove r th e finge r board and i n ce rtain passages , , ,

d o wn on th e strings w hich be it said is the only w ay to

, , ,

fi nge r the violin the non O bse rvance of w h ich is pe rhaps i n

,
-
, ,

greate r part responsible for the tro uble some students have he re
w ith do uble stopping If thi s book is played thro ugh acco rding
.

t o the n ume rical o rde r O f i ts exe rcises a loss Of time ens ues that ,

a t the least may be called unfo rtunate and that is nee dl ess and ,

unpedagogical .

ST UD Y No . 33 .

F m j a or 2 A n d a nt e .

O ri gi nal , NO . 31 Massart NO , . 31 Kross NO ,

. 3 5 ; S ch roed er , NO . 33 .

A stud v essentially fo r third s w ith many extensions Th e , .

c h ro matic p ushing u p and d ra wi ng back of the finge rs is also a

feature Th e b o w has noth ing to say In meas ure 2 1 begins

.
.

a sequence :

th e thi rd cho r d in each g r o u p is a fift h so m eti m es a pe rfect fifth , ,

r eq i
u r ing one finge r ; again an i m pe r fect fift h req ui ring t w o ,

finge rs This is the inte rval by which the shift is made Con
.
.

s eq u ently it i s the inte rval m ost ne e df ul of att e nti on Play th i s .

 HO W T o S T UD Y KRE UTZE R . 51

seq uence some six detached bow s beforemeasur es — with ,

slurri ng .

Of this d i fli cul t study Massart gives four va ri ants all tran s ,

positions an octave a pe rfect fou rth a majo r sixth and a major

, , ,

seve nth highe r We belie ve that the o rdinary student w ill be

’

, .

satis fied to play the original as it stands and we are s ure that it ,

is all that he should atte mpt .

STU D Y No . 34 .

D m aj o r é M o d er at o .

O ri gi nal , NO . 32 ; Mas sart , NO . 32 ; Kross NO , . 3 2 ; Sch ro ed er, NO . 34 .

Th e diffi c ulty comes he re at the chord change s not in the ,

middle of the figure Play this first as a chord study p ure and
.
,

S i mple
.

When maste red in th is w ay the goodness O f the study may be ,

easily e x tracted na mely : do uble strings with expansions and

,

contractions strong and independent finge rs a good legato and

, , ,

a flexi ble w rist especially needed in seiz ing th e back strings w ith
,

the U p b o w and last b ut not least all ro und end urance For
-
, , ,
-
.

those places whe re the finge rs go hard patience a relaxed hand , , ,

mode ratio n and pe rs istence are highly reco mmended

, .

Massart gives a n u mbe r O f bow ings and variants It is strik .

ing that the fi rst and second are the grand d étach é and the
sau ti l lé ; it is stri ki ng too that this great teacher th roughout
, , ,
52 H O W T O S T UDY KRE U TZE R .

hi streatise on Kreutz er lays so much e mphasis O n th ese two so

.

radi call diffe rent strokes on the acq uire men t first O f fir mness
y , ,

of tone and Of acc uracy of finger and then on th e acquire ment

, ,

of clearness and lightness T o return one w ill find usef ul he re

.

the saltato and a spiccato variant of twice repeated notes

,
-
.

S TU D Y NO . 35 .

—A ll e g r o m o d erato
E fla t m aj o r 3 .

O ri gi nal , No . 33 M assart NO , . 33 ; Kross No , . 33 ; Schr oed er, NO . 35 .

T hereis little to explain techni cally in this piece What is

, , .

req ui red is seen at a first playi ng A S has been done before it.
,

may be w ell to red uce some passages to thei r low es t te rms .

Measures 1 7 1 8 1 9 2 0 will give this triple stop figure :

, , , ,

S TU D Y NO . 36 .

4
E mi no r A ll e g r e tt o .

O ri gi nal , NO . 34 Massart NO , . 34 ; Kross NO ,

. 36 ; Sch roed er, NO . 36 .

We have here the thi g that fo nd in No

same n a we u . 3 2 —
ch a nge of position in which the fo urth finge r by free Skip se i z es , ,

th e stri ng the third finger measuri ng fro m th e fo urth

,
Thi s is .
54 HO W TO S T UDY KRE UTZE R .

makes it s mooth and rende rs su pple the fingers

, . It may be
u se d w ith fine res ults as a saltato study .

S TU D Y NO . 39 .

A m aj o r 2 — A ll e g re t to .

O ri gi nal , No . 37 Massart NO , . 37 ; Kross ,

NO . 39 ; Sch ro ed er, NO . 89 .

Also a legato st udy utiliz ing the first fo ur positions

, . In
meas ure 4 0begins a figure ( Lette r B E dition D itson " ,

of w hich freq uent use is made and contai ning an extension of

,

the fo urth fi nge r Play these me as ures w ith a specially firm

.

hand T he di minished fifth plays an important part in this

.

study .

S TU D Y No . 40 .

B fla t m aj o r — (n o t i m e S i gn .
"

tr tr tr tr

O ri gi nal , NO . 38 ; M as sart NO
, . 38 ; Kross NO , . 41 Sch roed er, NO . 40
.

Although it does not contai n a Single dou ble tri ll this study ,

has been called one Of the best double tri ll studies in existence .
X
At any rate he w h o can play the whole stud y through with a
,
 HO W T O S T UD Y KRE U TZE R . 55

K
clear and end uring tri ll and wi thou t beco ming sti fl will p robably
’
, ,

have lit tl e tro uble wi th any double tri ll he may happen to meet .

I n learni ng it care must be taken not to play too much at a

,

ti me quality then rather than quantity

, , .

Played w ith the Ma ssart trill s

and witho ut the slurs as a S piccato study this piece will give
, ,

brilliancy and s taying po we r the b ow p roble m being a conside r,

able one In this form it may be regarded as a s uccessor of NOS X

. .

1 6 1 8 and 2 1
, , .

S TU D Y NO . 41 .

— A d ag i o
F maj o r f .

Origi nal , NO . 39 Massart NO ,

. 39 Kross NO , . 42 ; Sch roed er , No . 41 .

A legiti mate and natural outcome Of what has gone before .

T O play it in t une and w ith a fair to ne should be e asy to play ,

it with a fine noble tone is the matte r of much study

, study
th at will how ever Sho w i ts reflection i ts general efi ect in all
, , , ,

s ustained playing .

S TU D Y NO . 42 .

4
D mi n o r Mo d erato .

Origi nal , NO . 40 Massart, No . 40; Kross NO 40;

, . Sch ro ed er, NO . 42 .
56 HO W To S T UDY KRE U TZE R .

No new el ement i s introduced h ere To . thi s exce ll e nt

fugal piece clearly and vigorously i s not easy altho ugh li ke its
, , ,

predece ssor it follo ws naturall y fro m what has gone before I t

, .

c alls for a clean b ow and clear fingeri ng and i s a worth y endi ng

, ,

Of thi s s urpassi ngl y useful set Of st udi e s

.
FO RT Y T W O ST UD IES
-

FO R T H E V IO L IN

B y R O D O L PH E KR E U T Z E R
E d i te d b y B E NJA M IN C U T T E R

Pri ce , po s t -p i d , 50 C ents
g
 T w o Ind i spe nsab l e W o rks by

EU G ENE G R U ENBER G

D i tso n E d i ti o n, NO . 12 2 .
(C o mplete i n o ne v o l ume"
D i tso n Ed i ti o n , No . 12 3 .
(Part I . Th e Fi rst Po si ti o n"
D i tso n Ed i ti o n, NO . 124 .
(Part II . A ll th e Po si ti o ns"

Wh at th e grea t Vio li ni st Fri tz Krei sler

, , sa y s o f G
'
rue nb erg s Scales and

C h o rd s fo r th e Vi o li n
Yo ur w ork seem s to me no t mere l y th e b est b ut th e , o nl y o ne o f i t s k ind . f y
It i s th o ug h t ull
pl anned . cl earl yw o rked o u t , a n d sy st e ma t i cal l y a rra nged . E spec i al l y ad mi rab l e are y
o ur ch o rd

co mb i nati o ns . No t o nl yh ave y o u pr ese nted al l mul taneo us to ne

th e h i th ert o kno wn and used si

gro up s o f th e v i o l i n i n a c o n v e ni ent fo rm ma ki ng a v eri ta b le e nc y CIO pe d i a o f a l l th e ch o rd s co mpr e

, .

h end e d i n v i o li n t ech ni cs b ut y o u h av e a l so w i th o ut d o ub t d i sco v ered so me h i th ert o unkno w n

,

co m b i n a t i o ns .

I h a v e d eri v ed much pl easure a nd sti mul u s fro m y o ur work and I b eg y o u t o d o m e th e h o no r ,

o f maki n g m y o p i n i o n i f i t see m s t o y o u o f a ny w o rth wi d el y kno w n a mo ng al l w h o a re i nte rested

. .

i n th e vi o l i n .

FRIT Z KREIS LER .

In paper,

Thi s wo rk b y th e a uth o r o f S cales a nd Chord s for the Vi oli n O ffers to th e

new

stud ent d a i l y e xe rci se s i nte nd e d to ai d i n so l v i ng th e v ari o us tas ks O f fi nge r tech ni c ,

to d o th i s t h o ro ughl y a nd wi th d espa tch . Th e mo st i mpo rtant sub j ec ts h av e b een

sel ected fo r prac ti si ng materi al Th ere i s a separate ch apter o f speci al e xerci ses
.

fo r th e staccato S uch to pi cs as finger exerci ses a nd runs , e tc , o n o ne , t wo , th ree ,

. .

a nd fo ur stri ngs , ch ro mati c runs, emb ell i sh ments , th e v a ri o us po si ti o ns, shifti ng,

d o ub l e sto ps, e tc .
, recei v e th o ro ugh a ttenti o n a nd pra c ti ce ma teri al .
 A new edi ti on o f thi s stand ard wor k ,
revi sed ,
tra nsl ated ,
and enlarged from the o ri gi nal German
edi ti o n . Engli sh and German x
te t are gi ven through out the vol ume
,
whi ch contains 1 44 pages of
music, bo und i n paper wi th i
an attractive and serv ceable co ver.

T o be h ad in o ne volu me or in five books with the co ntents as below .

C O NT ENT S
Einlei tende Bemerkungen
'
Diagram, sho wi ng finger-hoard and the posi ti on Di e Z ei chnung sch aue n das G rifi brett und

of arm and hand Stellc des A rmes und d er H and

Elements o f Music Die Elemente der Musi k

T ech ni cal T erm s i n C o mmo n Use Die G ebrauchli chsten Kunstausdrucke
’ '

Boo : I
. Hm I.

I . T he O pen Stri ngs I . Die Leeren Saiten

II . T ones o n th e E-String II . Die T one der E-Sai te
III . T o nes on the A -Stri ng III . Die T éne der A -Saite
IV . T o nes on the D-String IV . Die T one der D-Sai te
V . T o nes o n th e G -Stri ng V . Die T one der G —
Sai te

Bo o : II .
Hm II .

Exerci ses in the Keys most used U hunge n in den gangbarsten T o nart en

O n the Graces o r Embellish ments V

Von den erzierungen

Bo o : III .

A dv anced E xercises in the Keys most used

Boo : IV .
Hm IV .

O n the V ari o us Shifts or Posi tion Vo n den V erschi edenen Lagen

Boo : V . Hm V .

A d vanced E x ercises in th Hi gh e er Positi ons Gesteigerte Ubung n i n d e b ob ern Lagen

en

T heme from ”
Norma, with V ” V
ari ati o ns T hema aus Norma, mit ari ati o nen
 HA R M O N IC A NA LYS IS
A CO U RS E IN T H E A NA L YS IS O F T HE C H O R D S A ND O F T H E NO N-K A R M O
T O NE S T O B E FO U ND IN M U S IC C L A S S IC A ND MO D E R N

BE NJA M IN C U T T E R
Pri ce , po s t-pa i d ,

k y
T his boo is d esi gned , primaril , fo r th ose w ho have studied armo n and wo uld a
ppl i t i n I H y y
y
ev er -d ay musical li fe ; i n o ther w o rd s, in thei r pla i ng and i n th ei r teachi ng y
Furth ermo re , .

lanned for th ose w h o , li vi ng i n so me place i nac cessi ble to the best perfo rmances, w o uld re v ie w v
p
y
th e h ave learned , i f possi ble, i n a manner o ther than that o f labori ousl w ri ting e erci ses, W t y x
broad en thei r musical ho ri z on and thus e erci se the gift x
eaven h as
gi ven them, and appease, H
measure, that h unger for chords and fo r things harmonic w hich characteri z s so stro ngl this present i . y
y
It i s beli eved that by a careful stud o f this boo , c ne may learn no t o nl to anal z e and tok y y
derstand anything i n the way of h armony that he m ay chance to meet i n musi cal literature , cla sic a
modern, but— w hat is far more i mportant— through his hei ghtened po wers o f comprehensio n he s
be enabled to bea r w ttb greater under sta ndi ng , to rea d at sight w i th snore f a ci li ty, to play a nd
evi ct mor e i ntelli ence, and conseque ntly may h ave hi s musi cal perce ti o ns— th ose gi fts o f de li gh t
g p
man—qui c ened and mad e mo re respo nsive, w h ether he act as player, as si nger, or as listener
k .

y
T he course in harmo nic anal sis required o f the stud ents o f th e New England o nservat o r" C
M usi c h as demo nstrated i tself to be o ne o f the most useful and valuable studi es i n the curriculum .

B C x
M r enj amin utter s e haustive treatise o n this subjec t is largely th e resul t o f the practi
.
’

necessities o f thi s co urse and h as been practi call y

tested d uri ng the l ast four sc hoo l years .

A s a c o nti nuatio n o f the prac tical stud y o f Harmo ny it i s i nv al uable, and for the general stud c

o f musi c most useful as well as highly i nteresti ng W A DW I K,

. G . . CH C
Di rector , New EngIa nd Conserv a tory of M usi c, Boston, M r

x y
I h ave e ami ned our Ha r moni c A na iysi s wi th much interest It o ugh t to prove a va .

able wo r k .I hav e called th e attentio n o f M r Jepso n, who has charge of Harmo n classes, to 1
. y
bo o k and feel sure o f h i s i nterest as w ell O R A T IO PA R KER ,
. H

T he w or k ,
x
upo n a c urso ry e ami nati o n, i mpresses me as bei ng eminen tl practi cal y as a x
te t-be
for c lass use .

x x
T h e e cerpts used as ill ustratio n to t he te t together w ith th e c o mpre hensive and lucid explanatc
te t make M r C utter s book a v aluabl e adj unc t (fo r bo th teac her and pupil"i n the stud of A nal si s
x y y
’ ‘ ’
. .

W ILSO N G S M IT H , Clev ela nd , Ohio . .

x k y
It is a h i ghl y e celle nt w o r , th o ro ugh l mod ern in i ts sco pe , and a v aluable boo for the the k
reti cal st ud ent . k y
I sh all ta e pleasure i n using i t m sel f, and reco mmending i t to o th ers .

E R KR O E ER , St Loui s, M . . G .

“A firs t glance w o uld ind icate that i t fi lls a l o ng-fel t w ant w ith me , and there fore that Ic
use it . I am glad t o no te the e cellent t po graph x ”
y LEO R LEW IS, y . .

It i s a n un i que boo k w hic h treats o f a h

p ase o f th e science o f musi c
I h ave not seen it treat: as

W ILLA R D KIM BA LL,

Di r ector , Uni v er si ty School f
o M usi c, Li ncol n, Nei rash

I am v er y
muc h pleased w i th th e w o rk and w i th the clear and i
c o nc se arrange ment, and sh:

use it in so me o f my c lasses . CH A S . A . B O Y LE ,

Di r ector , Depa r tment f

o M usi c, Ka nsa s Sta te Normal Scdoo