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1986

A Practice Manual: Jacob Dont's Twenty-Four

Studies, Opus 37 (Violin, Austria).
James Christopher Thompson
Louisiana State University and Agricultural & Mechanical College

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Historical Dissertations and Theses. 4269.
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Thompson, Jam es Christopher

A PRACTICE MANUAL: JA C O B DONT’S "TW ENTY-FOUR ST U D IE S,N O P U S

37

T h e Lou isian a S ta te U niversity a n d A g ric u ltu ra l a n d M e c h a n ic a l Col. D.M.A. 1986

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 A PRACTICE MANUAL:
JACOB DONT'S
TWENTY-FOUR STUDIES, OPUS 37

A Monograph

Subm itted t o th e G raduate F a c u lty o f th e

L o u isia n a S t a t e U n iv e r s ity and
A g r i c u l t u r a l and Mechanical C ollege
in p a r t i a l f u l f i l l m e n t o f th e
re q u ire m e n ts f o r th e d eg ree o f
D octor o f Musical A rts

in

The School o f Music

by
Janies C h r is to p h e r Thompson
B.M ,, U n iv e r s ity o f Alabama, 1976
M.M., Memphis S t a t e U n i v e r s i t y , 1977
May 1986
 ©1987

JAMES CHRISTOPHER THOMPSON

All Rights Reserved

 PREFACE

The purpose o f t h i s m anual, which i s based on D o nt's Twenty-

Four S t u d i e s , Opus 3 7, i s t o a s s i s t th e s tu d e n t in a c q u ir in g e f f e c t i v e

p r a c t i c e te c h n iq u e s . This manual i s in te n d e d a s a supplem ent t o s t u d io

in stru c tio n .

The Twenty-Four S t u d i e s , Opus 37 , o f Jacob Dont (1815-1888) a r e

in s ta n d a rd use among contem porary t e a c h e r s o f th e v i o l i n . Dont d esign ed

h i s Opus 37 s p e c i f i c a l l y a s p r e p a r a t o r y s t u d i e s f o r t h e Forty-Two S tu d ie s

o f Rudolphe K re u tz e r (1776-1831). The te a c h in g o f D ont's Opus 37

im m ediately p re c ed e s t h a t o f K re u tz er in t h e sequence o f e tu d e l i t e r a t u r e

used by most o f th e em inent pedagogues o f th e tw e n tie th c e n t u r y J I t is

p a r t i c u l a r l y c r i t i c a l t h a t a s t u d e n t develop e f f i c i e n t p r a c t i c e

te c h n iq u e s w hile s tu d y in g D o n t's Opus 37, b e fo re p ro ceed in g to th e more

advanced s t u d i e s o f K re u tz e r. S tu d e n ts who a tte m p t t o l e a r n t h e F o rty -

Two S tu d ie s o f K re u tz e r w ith o u t adeq uate p r e p a r a t i o n , o f te n have s e r io u s

d e f i c i e n c i e s o f te c h n iq u e . These d e f i c i e n c i e s r e q u i r e e x t e n s i v e rem edial

work b e fo re p ro g re s s can c o n tin u e . The p ro p e r s tu d y o f D o n t's Opus 37

can se rv e as th e c r u c i a l l i n k between beg inn ing le v e l i n s t r u c t i o n and

t h a t o f th e advanced e tu d e l i t e r a t u r e .

This manual i s d e sig n e d f o r use w ith th e Galamian E d itio n o f

D o n t's Twenty-Four S t u d i e s , Opus 37. P r i n c i p l e s o f V io lin P layin g and

H h i s sequence was used by t h e l a t e Ivan Galamian, who, in th e

o pin ion o f many a u t h o r i t i e s , was one o f th e most im p o rta n t pedagogues
o f t h i s c e n tu r y .
T eaching, by Ivan Galamian (19 0 3-1981), i s c o n s id e re d by most

a u t h o r i t i e s t o be t h e d e f i n i t i v e t r e a t i s e on v i o l i n pedagogy, w r i t t e n

in th e second h a l f o f t h e tw e n tie th c e n tu r y . G alam ian's s tu d e n t s

c u r r e n t l y rank amohg th e w o r l d 's forem o st c o n c e r t a r t i s t s and t e a c h e r s .

Ivan Galamian p u b lis h e d e d i t i o n s o f v i r t u a l l y a l l o f th e s ta n d a r d e tu d e

l i t e r a t u r e o f th e v i o l i n . Jacob Dont was th e head o f th e v i o l i n

d epartm en t a t t h e Vienna C on servatory in th e 1870s and 1880s. Dont was

a pupil o f B5hm who had s t u d i e d w ith P i e r r e Rode (1774-1830) in P a r i s .

Rode was one o f th e founding members o f t h e f a c u l t y o f t h e P a r is

C o n servatory . T h e r e f o r e , D o n t's te a c h in g p r i n c i p l e s had t h e i r o r i g i n s

in th e p h ilo s o p h ie s o f th e French school o f v i o l i n pedagogy. Jacob

D on t's s u c c e ss a s a pedagogue i s e v id e n t in th e r e s u l t s o f h i s te a c h in g .

Dont was th e t e a c h e r o f Leopold Auer (1845-1930). A u e r's te a c h in g

produced such a r t i s t s as Ja sc h a H e ife tz .a n d Nathan M i l s t e i n . Auer a l s o

3
ta u g h t Raphael B ro n s te in , a renowned contem porary pedagogue.

The b ib lio g r a p h y o f t h i s t e x t was s e l e c t e d t o p ro v id e c o n t i n u i t y

in th e p r i n c i p l e s used t o fo rm u la te p r a c t i c e programs f o r each o f t h e

4
Twenty-Four S t u d i e s . Carl F l e s c h 's The A rt o f V io lin P lay in g is

g e n e r a l l y c o n s id e re d as th e d e f i n i t i v e t r e a t i s e on v i o l i n p la y in g and

te a c h i n g , w r i t t e n in t h e f i r s t h a l f o f t h e t w e n t i e t h c e n tu r y . The

t r e a t i s e s o f Flesch and Galamian a re used as th e p r i n c i p a l s o u rc e s in

Ivan Galamian, P r i n c i p l e s o f V io lin P lay in g and T e a ch in g , ed.

E liz a b e th A. H. Green, 2nd e d . (Englewood C l i f f s , New J e r s e y : P r e n t i c e -
H a l l , I n c . , 1985.

3The New Grove D ic tio n a ry o f Music and M u sic ia n s, 1980, e d . ,

s . v . "V io lin Technique Since 1785.""“

4 Carl F le s c h , The A rt o f V io lin P la y in g , 2 v o l s . , t r a n s . by

F r e d e ric k H. M artens (New York: Carl F is c h e r , I n c . , 1939).

iii
w r i t i n g t h i s manual. The a u th o r in c lu d e s among h i s so u rc e s

u n p u b lish e d in fo rm a tio n from M argaret P ardee. Ms. P a rd e e , who was a

s tu d e n t o f Ivan Galamian, i s an a r t i s t - t e a c h e r o f i n t e r n a t i o n a l renown.

The a u th o r has s t u d i e d p r i v a t e l y w ith M argaret Pardee a t th e Meadowmount

School o f Music and a t th e Estherwood Music F e s t i v a l . S ev eral o f th e

te a c h in g te c h n iq u e s used by Ms. Pardee a re in c o r p o r a te d in t h e p r a c t i c e

programs o f t h i s manual. The a u th o rs o f a l l t h e so u rc e s used in t h i s

p r a c t i c e guide r e c e iv e d t h e i r t r a i n i n g from pedagogues whose p r i n c i p l e s

r e p r e s e n t th e French school o f v i o l i n p la y in g . The p h ilo s o p h ie s o f th e

French school formed th e fo u n d a tio n o f contem porary v i o l i n pedagogy.

The a u th o r w ishes t o acknowledge Dinos C o n s ta n tin id e s , em inent

v i o l i n i s t and p r o f e s s o r o f com position a t th e L o u isia n a S t a t e U n iv e r s ity

School o f Music. Dr. C o n s t a n t i n i d e s 's s u p e r v is io n in p la n n in g b oth th e

c o n te n t and form at o f t h i s work was i n v a l u a b l e . The a u th o r a l s o

g r a t e f u l l y acknowledges t h e a d v ice o f M argaret P a rd e e , a r t i s t - t e a c h e r

o f v i o l i n a t th e J u i l l i a r d School o f Music. The a u t h o r ' s c o n s u l t a t i o n

w ith Ms. Pardee in p re p a rin g c e r t a i n p o r ti o n s o f th e work was o f

in e s tim a b le v a lu e .

iv
 TABLE OF CONTENTS

PREFACE.............................................................................. ii

ABSTRACT.............................................................................................................. v ii

INTRODUCTION ........................................................................................................... I

CHAPTER I : STUDIES INLEGATO.................................................................... 3

P r a c t i c e Program f o r Study No. 1 3

P r a c t i c e Program f o r Study No. 3 7
P r a c t i c e Program f o r Study No. 5’ .’ I ! . * . ! ! * . ! 11
P r a c t i c e Program f o r Study No. 8 ...................................' 14
P r a c t i c e Program f o r Study No. 9 ] . 17
P r a c t i c e Program f o r Study No. 11..... .................................. .' 18
P r a c t i c e Program f o r Study No. 12. . . . . . . . i ! 20
P r a c t i c e Program f o r Study No. 1 3 .................................. 22
P r a c t i c e Program f o r Study No. 16.... ....................................... 26
P r a c t i c e Program f o r Study No. 17. . . . " ...................... 28
P r a c t i c e Program f o r Study No. 18.... ....................................... 30
P r a c t i c e Program f o r Study No. 21............................................ 32

CHAPTER I I : STUDIES IN MIXED BOWINGS ................................................. .35

P rac tic e Program f o r Study No. 2 35

P rac tic e Program f o r Study No. 4 . . 38
P rac tic e Program f o r Study No. 6 ...................................... 40
P rac tic e Program f o r Study No. 7 ...................................... 43
P ractice Program f o r Study No. 10 ...................................... 46
P ractice Program f o r Study No. 14 ...................................... 48
P rac tic e Program f o r Study No. 15 ...................................... 50
P rac tic e Program f o r Study No. 2 0 .................................. 53
P rac tic e Program f o r Study No. 23 ...................................... 55

CHAPTER I I I : STUDIES IN MULTIPLE STOPS ............................................ 58

P r a c t i c e Program f o r Study No. 19 ...................................... 58

P r a c t i c e Program f o r Study No. 22 .. ............................. 61
P r a c t i c e Program f o r Study No. 24 ...................................... 63

SUMMARY .............................................................................................................. 66

BIBLIOGRAPHY....................................................................................... .... 69

APPENDIX A: THE PREPARATORY EXERCISE FOR THE SHIFT .................. 71

v
APPENDIX B: THE SON FILE: A PRACTICALAPPLICATION ......................... 77

APPENDIX C: RHYTHMIC PATTERNS............................ ....................................... 86

APPENDIX D: PREPARATORY EXERCISE FOR THE TRILL ................................ 87

APPENDIX E: PRACTICING MIXED BOWINGS.... ..................................................... 89

GLOSSARY......................................... 92

V I T A ................................................................. 93

vi
 Abstract

A P r a c t i c e Manual: Jacob D o n t's TWENTY-FOUR STUDIES, Opus 37

( f o r s o lo v i o l i n ) i s d esig ned f o r use w ith th e Galamian e d i t i o n o f t h i s

work.

The t e x t p ro v id e s s p e c i f i c p r a c t i c e o b j e c t i v e s and p r a c t i c e

proced ures f o r each o f t h e s t u d i e s in D on t's Opus 37. T his manual i s

in te n d e d t o f u n c tio n as a supplem ent t o s t u d i o i n s t r u c t i o n —n o t as a

su b stitu te fo r i t .

A spects o f te c h n iq u e which commonly p r e s e n t problems t o most

s tu d e n t s a r e i d e n t i f i e d . P r a c t i c e p roced ures de sig n e d to prov ide

s o l u t i o n s t o th e s e problems a re p re s e n te d .

The p r i n c i p l e s o f p r a c t i c e in c o r p o r a te d in t h i s manual can be

a p p lie d in many examples from th e e tu d e l i t e r a t u r e f o r th e v i o l i n .

Through th e t r a n s f e r and r e - a p p l i c a t i o n o f p r i n c i p l e s o f p r a c t i c e given

in t h i s t e x t , t h e s tu d e n t w ill r e i n f o r c e t h e le a r n in g o f th e s e c o n c e p ts .

With th e guidance o f a competent t e a c h e r , t h i s manual should u l t i m a t e l y

pro v id e th e s t u d e n t w ith a s u b s t a n t i a l r e p e r t o i r e o f p r a c t i c e te c h n iq u e s .

These co n ce p ts w ill p ro v id e a s o l i d fo u n d a tio n f o r more advanced s tu d y .

 INTRODUCTION

T his manual i s d e sig n e d f o r use w ith th e Galamian E d itio n o f

Jacob D on t's Twenty-Four S t u d i e s , Opus 37.^

C hapter 1 in c lu d e s p r a c t i c e programs f o r a l l s t u d i e s in which

th e e x c lu s iv e use o f le g a t o bowings i s i n d i c a t e d . C hapter I I c o n s i s t s

o f p r a c t i c e programs f o r s t u d i e s in which mixed bowings a r e i n d i c a t e d .

S tu d ie s w r i t t e n a lm o st e x c l u s i v e l y in m u ltip l e s to p s a r e provided

w ith p r a c t i c e programs in C h ap ter I I I .

This p r a c t i c e guide p ro v id e s o b j e c t i v e s and proced ures f o r each

o f D ont's Twenty-Four S t u d i e s . A spects o f te c h n iq u e which commonly

p r e s e n t problems to most s t u d e n t s a r e i d e n t i f i e d . P r a c t i c e pro ced u res

d e sig n e d t o p rov id e s o l u t i o n s t o th e s e problems a r e p re s e n te d . The

p r a c t i c e te c h n iq u e s p r e s c r i b e d f o r each p r a c t i c e program a re based

on t h e p r i n c i p l e s o f some o f th e most renowned a u t h o r i t i e s in th e

d i s c i p l i n e o f v i o l i n pedagogy.

P r a c t i c e programs in c lu d e p r e s c r i p t i o n s f o r s p e c i f i c amounts o f

tim e to be s p e n t in t h e p r a c t i c e o f each s t e p . These p r e s c r i p t i o n s a re

based on t h e te a c h in g e x p e rie n c e o f t h e a u th o r . I t sh o u ld be n o te d ,

t h a t th e s e p r e s c r i p t i o n s a r e o f a g e n e ra l n a t u r e . The t e a c h e r w ill

o c c a s i o n a l l y have t o ex ten d t h e amount o f tim e p r e s c r i b e d f o r a given

s t e p to accommodate t h e s p e c i f i c needs o f c e r t a i n i n d i v i d u a l s .

*Jacob Dont, Twenty-Four S t u d i e s , Opus 3 7 , Galamian e d i t i o n ,

(New York: I n t e r n a t i o n a l Music Company, 1967).
 The p r i n c i p l e s o f p r a c t i c e in c o r p o r a te d in t h i s manual can be

a p p lie d in many examples c o n ta in in g s i m i l a r t e c h n i c a l re q u ire m e n ts.

Through t h e t r a n s f e r and r e - a p p l i c a t i o n o f given p r i n c i p l e s , t h e s tu d e n t

w i l l r e i n f o r c e t h e le a r n i n g p r o c e s s . The use o f t h i s t e x t , w ith th e

guidance o f a competent t e a c h e r , sh o u ld u l t i m a t e l y pro v id e t h e s t u d e n t

w ith a s u b s t a n t i a l r e p e r t o i r e o f p r a c t i c e te c h n iq u e s . These a c q u ire d

s k i l l s w i l l g iv e th e s t u d e n t a s o l i d fo u n d a tio n f o r t h e le a r n i n g o f

th e more advanced e tu d e l i t e r a t u r e o f th e v i o l i n .
 CHAPTER I

STUDIES IN LEGATO

P r a c t i c e Program
fo r
Study ¥ o . 1

METHOD A

P r a c t i c e O b je c tiv e s

In Method A t h e s t u d e n t sh o u ld p r a c t i c e t o develop:

a. f a c i l i t y in s h i f t i n g th e p o s i t i o n (S tep 1)

b. c l a r i t y o f a r t i c u l a t i o n o f t h e l e f t hand f i n g e r s (S te p 2)

c. an e v e n ly produced to ne (S te p s 2 and 3)

d. evenness o f l e f t hand f i n g e r a c ti o n (S tep 3)

Procedure

In t h e fo llo w in g p r e s c r i b e d program, S te p 1 and S te p 2 sh o u ld

be used f o r t h e f i r s t te n days o f p r a c t i c e o f Study No. 1. The p ro cedu re

in S te p 3 sh o u ld n o t be a p p lie d u n t i l co m p letin g S te p s 1 and 2.

S tep 1: All s h i f t s in p o s i t i o n sh o u ld be i d e n t i f i e d and p r a c t i c e d in

p r e p a r a t io n (s e e pro c e d u re in Appendix A).

S te p 2: The s t u d e n t sh o u ld perform th e e n t i r e Study w ith th e p r i n t e d

bowing (one f u l l bow p e r m easure) a t th e s e tempos: M.M. 4 0 , M.M. 60 and

M.M. 80 t o t h e e i g h t h n o te p u ls e . In th e p r a c t i c e o f S tep 2 , c a r e f u l

a t t e n t i o n must be g iv e n to t h e fo llo w in g d i r e c t i o n s :

a) L e ft-h a n d f i n g e r s must snap f ir m ly onto s t r i n g f o r c l a r i t y

 of a rtic u la tio n . Care must be ta k en t o allo w a l l ex cess

f i n g e r p r e s s u r e (and c o u n te r p r e s s u r e from t h e thumb bn

u n d e rsid e o f neck) t o d i s s i p a t e im m ediately upon c o n ta c tin g

th e s t r i n g . The f i n g e r s should n o t be l i f t e d to o high (more

than t h r e e - f o u r t h s o f an inch above th e s t r i n g ) as t h i s w ill

2
p r e v e n t th e development o f f a c i l i t y a t f a s t e r tempos.

b) The amount o f bow used sho uld be e q u a l l y d i s t r i b u t e d f o r

each b e a t . The p ro c e ss d e s c rib e d as fo llo w s w ill a id in

a c h ie v in g even bow d i s t r i b u t i o n . The bow sho uld be stopped

on th e s t r i n g f o r an added b e a t ' s d u r a tio n o f r e s t a f t e r

perform ing each fo u r n o t e s . The te ch n iq u e above sh o u ld be

a p p lie d a t a l l th e tempos s p e c i f i e d f o r Step 2. T his

proced ure f a c i l i t a t e s e a s y d e t e c t i o n o f p o s s i b l e e r r o r s in

bow d i s t r i b u t i o n . The d iv i d i n g o f t h e bow's le n g th i n t o

s u b d iv is i o n s a llo w s th e s t u d e n t t o d eterm in e e x a c t l y where

3
f a u l t y bow speed o c c u rs.

c) The use o f te c h n iq u e s g iv en in Appendix B w i l l r e s u l t in th e

a p p l i c a t i o n o f even p r e s s u r e th ro u g h o u t t h e e n t i r e le n g th

o f t h e bow. P re s s u re must always be a p p lie d in s u f f i c i e n t

q u a n t i t y t o produce a f u l l to n e .

The sounding p o i n t s given in Table 1 a r e p r e s c r i b e d f o r use w ith S te p s 2

and 3 o f Method A. The sounding p o in ts a r e s p e c i f i e d a s th e d i s t a n c e

between t h e i n s i d e edge o f the. bow h a i r and t h e b r id g e . The u n i t o f

measure used t o s t a t e t h a t d i s t a n c e i s th e w idth o f t h e e n t i r e rib b o n o f

O
Ivan Galamian, P r i n c i p l e s o f V io lin P lay ing and T eachin g, ed .
E l iz a b e th A. H. Green, 2nd ed. ( " E n g l e w o o d c l i f f s , New J e r s e y : P r e n t i c e -
H a ll, I n c . , 1985), p. 19.

Henry B a r r e t t , The V io la * 2nd ed. (T u s c a lo o s a , Alabama: The

U n iv e r s ity o f Alabama P r e s s , 1 9 78 ), p. 78.
 5

bow h a i r a s i t i s d i s t r i b u t e d a c r o s s t h e f e r u l e o f t h e fr o g (a p p ro x im a te ly

7/8 in c h e s ) .

Table 1: Tempo (an e ig h th n ote Corresponding

e q u a ls one p u lse ) Sounding P o in t

p u lse = M.M. 40 2 * B.H.R.W. from b rid g e

p u lse = M.M. 60 2 .5 B.H.R.W. from b rid g e

p u lse = M.M. 80 3 B.H.R.W. from b rid g e

p u lse = M.M. 100 3 .5 B.H.R.W. from b rid g e

p u ls e = M.M. 120 4 B.H.R.W. from b rid g e

*B.H.R.W. i s an a b b r e v ia ti o n f o r bow h a i r rib b o n w id th s .

This a b b r e v ia ti o n w ill a p p ly th ro u g h o u t t h i s t e x t . The
p r e s c r i p t i o n s f o r s p e c i f i c sounding p o in ts given in t h i s
t a b l e a r e based on p r a c t i c a l a p p l i c a t i o n .

In a p p ly in g t h e p r e s c r i p t i o n o f Table 1 in t h e p r a c t i c i n g o f

Study No. 1, t h e s t u d e n t sh ou ld n o te an e x c e p tio n . When two measures

a re to be perform ed w ith one bow stro k e * t h e B.H.R.W. must be reduced to

h a l f th e d is ta n c e p r e s c r i b e d in Table 1.

S te p 3: The o b j e c t i v e o f Step 3 i s evenness o f l e f t hand f i n g e r a c t i o n .

For t h i s p urp ose, th e use o f v a rio u s rhythm ic p a t t e r n s w i l l be in c o r p o r a te d .

In t h e procedure below a l l tw e n ty -fo u r rhythm ic v a r i a t i o n s in Appendix C

sh o u ld be used. The use o f one o f th e s e p a t t e r n s each day w i l l h e lp to

o b ta in t h e b e s t r e s u l t s . ^

a) The s tu d e n t s h o u ld p r a c t i c e t h e e n t i r e Study s u b s t i t u t i n g

each o f th e rhythm ic p a t t e r n s in Appendix C f o r t h e p r i n t e d

n o te v a lu e s a t a tempo o f M.M. 60 p e r e i g h t h - n o t e p u ls e .

The stu d y sh o u ld be p r a c t i c e d in two-measure segm ents. In

^Galamian, P r i n c i p l e s o f V io lin P lay in g and Teaching* p. 6.

 measure 1 , b e a t one and t h e f i r s t n o te o f b e a t two should

be e x e c u te d a s one u n i t . Each segment should be b u i l t b e a t

by b e a t (o v e rla p p in g by one n o te a s each s u c c e s s iv e b e a t i s

add ed). When measure 1, 2 and t h e f i r s t n o te o f measure 3

can be s u c c e s s f u l l y e x e c u te d , th e s tu d e n t sho u ld proceed

t o th e n e x t two-measure segment. This te c h n iq u e should be

used th ro u g h o u t th e e n t i r e Study. The p ro c e ss o f b u ild in g

th e Study in segments w i l l h e lp t h e s t u d e n t t o develop

c o n t i n u i t y a s a perform ance s k i l l . A f t e r b u ild in g f o r

c o n t i n u i t y in segm ents, th e e n t i r e Study sh o u ld be performed

w ith o u t s t o p s . I f te c h n i c a l problems o c c u r , th e s tu d e n t

sho uld p ro c e ed , r e g a r d l e s s o f m is ta k e s . Only a f t e r p la y in g

t h e e n t i r e Study sh ou ld t h e s t u d e n t r e t u r n t o t h e passage

p r e s e n tin g d i f f i c u l t y . Then, an a tte m p t sho uld be made t o

i d e n t i f y th e cause o f f a u l t y e x e c u tio n .

b) The procedure used in a ) (above) sh o uld be a p p lie d a t a

tempo o f M.M. 80 t o th e e ig h th n o te p u ls e .

c) Study No. 1 should be performed a t a tempo o f M.M. 100 and

a t M.M. 120 t o th e e i g h t h n o te p u ls e as p r e s c r i b e d in a)

(a b o v e ).

METHOD B

P r a c t i c e O b je c tiv e s

The e ven ness and p u r i t y o f tone p ro d u c tio n w h ile drawing t h e bow

a s c lo s e t o th e b rid g e a s p o s s i b l e .

Procedure

The f i r s t e i g h t measures o f Study No. 1 sh o u ld be p r a c t i c e d u sin g

5B a r r e t t , The V io la , 99.
th e p r i n t e d bowing a t a tempo o f M.M. 60 t o th e t h i r t y - s e c o n d n o te

v a lu e . The p ro c e ss should be re p e a te d once a day f o r seven days.

For d i r e c t i o n s on a c h ie v in g evenness o f bow speed and bow

p r e s s u r e , th e s t u d e n t sh o uld r e f e r to Appendix B.

P r a c t i c e P ro gram
for
Study" No. 3

P r a c t i c e O b je c tiv e s

The s tu d e n t should work to r e a l i z e th e fo llo w in g o b j e c t i v e s in

Study No. 3:

a. s u s t a i n i n g a p u re , even tone in th e le g a to

b. p ro p e r e x e c u tio n o f s t r i n g c ro s s in g s

c. c l a r i t y o f le ft-h a n d a r tic u la tio n

d. rhythm ic evenness in a c t i o n o f l e f t - h a n d f i n g e r s

Procedure

Step 1: The s tu d y sho uld be performed a t a tempo o f M.M. 80 t o th e e ig h th

n o te u sin g t h e p r i n t e d bowing. The sounding p o in t sh ou ld be one B.H.R.W.

from t h e b r id g e . In Step 1, th e s t u d e n t 's main purpose sh o u ld be to

make a c l e a r d i s t i n c t i o n between s t r i n g c r o s s in g s made w ith th e r i g h t

hand and th o s e made w ith t h e e n t i r e r i g h t arm. When a passag e r e q u i r e s

f r e q u e n t c r o s s i n g between a d ja c e n t s t r i n g s , t h e hand i s r a i s e d o r lowered

from th e w r i s t w ith o u t u sin g th e forearm . When a s t r i n g c r o s s in g

encompasses more th an an a d j a c e n t p a i r o f s t r i n g s , t h e whole arm must be

£
used. The fo llo w in g examples from Study No. 3 s e r v e t o c l a r i f y th e

6Carl F le s c h , The A rt o f V io lin P la y in g , 2 v o l s , t r a n s . by

F re d e ric k H. Martens {New York: Carl F i s c h e r , I n c . , 1939), v o l. 1:
Technique j n General and A pplied T echnique, p. 61.
d i s t i n c t i o n between p a ssa g es r e q u i r i n g c r o s s in g t h e s t r i n g w ith t h e

whole arm and th o s e which r e q u i r e c r o s s i n g w ith t h e hand o n ly .

F ig u re 1 - - Dont, Twenty-Four S t u d i e s , Opus 37, Study No. 3 , measure 1 .

In F ig u re 1 ,^ th e whole arm i s used t o c r o s s th e s t r i n g s because t h e bow

m ust be drawn on a l l f o u r s t r i n g l e v e l s in s u c c e s s io n . The p r o c e s s o f

c r o s s i n g th e s t r i n g s w ith t h e whole arm In v o lv e s a s im u lta n e o u s movement

o f t h e upp er arm, fo re a rm , han d, and f i n g e r s . When perfo rm ing a n o te ■

which in m e d ia te l y p re c ed e s a s t r i n g c r o s s i n g , t h e arm sh o u ld bscend o r

descend t o t h e new s t r i n g w ith a smooth m otion. In F ig u re 1 , th e second

p
n o te o f t h e measure ( c ) 1s t h e l a s t n o te perform ed on th e A s t r i n g . At

t h e b e g in n in g o f c
t h e bow sh o u ld begin d ro p pin g t o th e l e v e l o f t h e D
2
strin g . The bow and bow arm low er e v e n ly f o r t h e e n t i r e d u r a tio n o f c

s o t h a t t h e n e x t n o te ( a 1) b e g in s s im u lta n e o u s ly w ith re a c h in g t h e D

s trin g le v el.

F ig u re 2 . — P o n t, Twenty-Four S t u d i e s , Opus 37, Study No. 3 , measure 3.

^Jacob P o n t, Twenty-Four S t u d i e s , Opus 37, Galamian e d i t i o n (New

York: I n t e r n a t i o n a l Music Company, 1967), p. 5.
 o 2
In Figure 2 th e a o c cu rs as one n o te on th e E s t r i n g preceded

and fo llo w ed by t h r e e n o te s on th e A s t r i n g . The hand motion from th e

w r i s t i s used to c r o s s t h e s t r i n g h e re . The hand lowers when c r o s s in g

to E s t r i n g and i s th e n r a i s e d on t h e r e t u r n t o th e A s t r i n g . The

motion o f th e hand in c r o s s in g th e s t r i n g i s much more e f f i c i e n t in t h i s

case than u sin g th e whole arm. The s t u d e n t must be c a r e f u l t o keep th e

bow h a i r as c lo s e as p o s s i b l e t o th e s t r i n g approached. T his procedure

w i l l in s u r e t h a t th e s m a l l e s t p o s s i b l e d i s t a n c e i s covered in th e v e r t i c a l
g
motion o f c r o s s in g . For s p e c i f i c p r e s c r i p t i o n s o f th e p ro p e r arm and

bow le v e l f o r each s t r i n g , th e s t u d e n t s h o u ld r e f e r to Appendix B.

In Step 1 t h e r e is a common tendency to allow bow p r e s s u r e , bow

s p e e d , and t h e sounding p o i n t t o become i n c o n s i s t e n t w h ile c o n c e n tr a tin g

on s t r i n g c r o s s in g te c h n i q u e s . However, th e s t u d e n t must m a in ta in c o n tro l

o f a l l o f th e s e f u n c tio n s o f te c h n iq u e .

S tep 2: The purpose in p r a c t i c i n g S tep 2 i s t o develop c l a r i t y and

evenness o f a r t i c u l a t i o n o f t h e l e f t - h a n d f i n g e r s and development o f

f a c i l i t y a t f a s t e r tempos. All rhythm ic p a t t e r n s in Appendix C sh o uld

be a p p l i e d in th e p r a c t i c e o f Study No. 3 a t th e r a t e o f one p e r day.

The t h r e e tempos and sounding p o in ts s t a t e d as fo llo w s sho uld be performed

w ith th e p r i n t e d bowing and each o f t h e r e s p e c t i v e rhythm ic p a t t e r n s :

1) = M.M. 69 a t a sounding p o in t o f 1 B.H.R.W.

2) J 1 = M.M. 112 a t a sounding p o in t o f 2 B.H.R.W.

3) J1 M.M. 168 a t a sounding p o in t o f 3 B.H.R.W.

A f t e r com pleting th e p r a c t i c e o f Study No. 3 in a s p e c i f i c

rhythm ic p a t t e r n each day, t h e s t u d e n t sho uld p la y through th e Study

8 Ib id .

^ F le s c h , The A r t -o f V io lin P la y in g , v o l. T, p. 61.

 10

as w r i t t e n a t t h e fo llo w in g tempos:

1. J' = M.M. 108

2. J* = M.M. 66

The fo llo w in g t a b l e d e s i g n a t e s th e sounding p o in ts t o be used f o r each

o f th e tempos above.

Sounding p o in t:
Number o f n o te s Amount Dynamic Number o f B.H.R.W.
p e r bow o f bow Level from b rid q e
= M.M. 108' 12 whole fo rte 2 B.H.R.W.

12 whole piano 2 . 5 B.H.R.W.

6 h a l f (up per fo rte 2 B.H.R.W.
o r lower)
6 h a l f (u pp er piano 2 .5 B.H.R.W.
o r low er
i - = M.M. 66 12 ........ . whole fo rte 2 .5 B.H.R.W.

' 12 ............. whole piano 3 B.H.R.W.

6 upper or fo rte 2 . 5 B.H.R.W.

low er h a lf
6 upper or p iano 3 H.B.R.W.
low er h a lf

P r a c t i c i n g a t t h e s p e c i f i e d sounding p o in ts above w i l l i n i t i a l l y

r e q u ir e v is u a l m o n ito rin g t o a s s u re t h a t t h e sounding p o i n t i s m a in ta in ed

.c o n siste n tly . The sounding p o i n t and bow speed a re given in th e

t a b l e above. A s p e c i f i e d amount o f bow p r e s s u r e must be used t o a ch ie v e

th e c o r r e c t p r o p o r tio n s o f bow sp ee d , p r e s s u r e and sounding p o i n t . When

th e s e th r e e f a c t o r s e x i s t in th e c o r r e c t p r o p o r t i o n s , a f u l l - b o d i e d

and even to n e w i l l r e s u l t . The s t u d e n t w i l l soon le a r n t o a s s o c i a t e

th e p h y s ic a l s e n s a t i o n s which accompany c o r r e c t bow s p ee d , p r e s s u r e and

sounding p o in t w ith t h e d e s i r e d to n e . Then, v is u a l m o n ito rin g o f th e

sounding p o i n t i s no lo n g e r n e c e s s a ry .
 P ractice Program
fo r
Study N6, 5

P rac tic e Objectives

1. P u rity o f tone production in legato bowing.
2. C la rity and evenness in a r t i c u l a t i o n o f the l e f t hand f in g e rs .
3. F a c i l i t y in s h if tin g to and from the f i r s t , second, t h i r d ,
and h a l f p o sitio n s .
4. The a b i l i t y to make rapid l a t e r a l adjustments with th e l e f t

hand fin g e rs fo r purposes o f chromatic a l t e r a t i o n .

P ractice Procedure
Step 1: The e n t i r e study should be performed a t a tempo o f M.M. 50 to

th e q u a rte r note value using the p rin ted bowing. Consistency o f bow
speed and pressure must be maintained throughout each stro k e . The f u l l

bow should be used on each stro ke a t a sounding po int o f .5 B.H.R.W.

from th e bridge. In measures 7, 8, 9, 11, 12, 15 and 16, th e sounding
point should be changed to .2 B.H.R.W. from the bridge. Pressure should

be reduced to the c o rre c t proportion with the new sounding po int. In

a d d itio n , th e bow speed used in s lu r s o f e ig h t notes should be equal to

speed o f t h a t used in groups o f six te en n o te s. The above p re s c rip tio n s

w ill help in achieving the dynamic le v e ls s p e c ifie d fo r Study No. 5
in the Galamian E dition. One technique o f th e l e f t hand which i s called
fo r in concentrated amounts in Study No. 3 i s l a t e r a l movement o f
various l e f t hand fin g e rs . Figure 3 , 10 below, is taken from the f i r s t
measure o f Study No. 5 and i s used to present the c o rre c t procedure

f o r t h i s technique.

*°Dont, Twenty-Four S tu d ie s , Opus 37, p. 7.

 12

F ig u re 3 — D ont, Twenty-Four S t u d i e s , Opus 37 , Study No. 5 , m easure. 1.

In t h i s example, th e t h i r d f i n g e r i s used t o perform th e B# and t h e .B ,

The f o u r t h f i n g e r perform s th e C#. A r a p id l a t e r a l movement m u st.b e

made w ith th e t h i r d f i n g e r t o change from t h e M t o th e B. I t i s very

im p o rta n t t h a t t h e s tu d e n t o b se rv e t h e fo llo w in g d i r e c t i o n s in e x e c u tin g

t h i s c h rom atic f i g u r e :

1. A f t e r th e f o u r t h f i n g e r has a r t i c u l a t e d t h e second C#, th e

t h i r d f i n g e r must be r e la x e d ( b u t n o t l i f t e d ) .

2. When a minimum o f p r e s s u r e on t h e f i n g e r b o a r d , th e t h i r d

f i n g e r sh o u ld be moved down th e s t r i n g t o t h e p o s i t i o n f o r

th e B, b e fo re tim e f o r i t t o be p la y ed .* *

Each tim e t h e f o u r - n o t e c h ro m a tic f i g u r e ( a s observed in t h e second b e a t

o f measure 1) o c c u r s , a t v a rio u s p i t c h l e v e l s , th e p ro cedu re d e s c rib e d

above should be a p p l i e d . As a p r e lim in a r y e x e r c i s e t o Step 1 , th e s tu d e n t

sh ou ld p r a c t i c e each i s o l a t e d b e a t in which t h i s c h ro m a tic f i g u r e o c c u rs

a t a tempo o f M.M. 88 t o th e s i x t e e n t h n o t e . This w i l l in s u r e c o r r e c t

tim in g o f l e f t hand f i n g e r movements a t f a s t e r tempos. C o n c u rre n tly

w ith p r a c t i c i n g S te p 1 , t h e s t u d e n t sh o u ld I s o l a t e any s h i f t s which

p r e s e n t d i f f i c u l t y and p r a c t i c e them a c c o rd in g to th e procedure g iv en in

Appendix A.

**M argaret P a rd e e , in fo r m a tio n given in in te r v ie w a t Meadowmount

School o f M usic, W es tp o rt, New York, August 1975.
 13
Step 2: The stu den t should p ra c tic e the Study as w ritte n and with

the use o f rhythmic p a tte rn s f o r a period o f e ig h t days. Rhythmic

p a tte rn s one through e ig h t from Appendix C should be used a t a r a t e of

one p a tte rn each day. The procedure each day should include p ra c tic in g

a t th ree pro g ressiv ely f a s t e r tempos; f i r s t , as w r itte n , then, with

the rhythmic p a tte rn . The th re e tempos and concurrent sounding, p oints

are designated as follows:

1. ^ = M.M. 56; sounding point is a t the bridge

2. J* = M.M. 76; sounding po int is .5 B.H.R.W. from bridge
3. J* = M.M. 112; sounding p o in t is 1 B.H.R.W. from bridge
In Step 2, a primary ob je ctiv e i s the c l a r i t y and evenness o f a r ti c u l a t i o n

with th e l e f t hand fin g e rs . To a r t i c u l a t e c le a rly with the fin g e rs of

the l e f t hand, the fi nger s must be dropped with firmness and rap id speed

onto th e s t r i n g and fingerboard. The two common e rro rs which must be

avoided in t h i s process are:

1. dropping th e fin g e rs with more force than necessary

2. e x ertin g and maintaining excess counter-pressure with

the thumb on the under side o f the v io lin neck.

To develop e f f i c i e n t action o f the l e f t hand f i n g e r s , the student

must use only the muscles d i r e c t l y behind the base-knuckle jo in ts

o f the f in g e rs . The exclusive use o f th e se muscles to drop and l i f t

12
th e fin g e rs w ill r e s u l t in firm but independent fin g e r actio n .
Step 3: F in a lly , th e student should p ra c tic e Study No. 3 as w ritte n a t

M.M. 112 per q u a rte r-n o te pulse. This process involves performing one

*2Henry B a r r e tt, The V iola, 53.

 14

beat a t a time, adding a b e a t on each successive r e p e titio n u n til one

two-measure u n it can be performed a c c u ra te ly without sto p s. The stu d en t

should continue to accumulate two-measure segments u n til th e whole study
can be performed a cc u ra te ly .

P ra c tic e Program
fo r
Study No. 8

METHOD A
P ractice Objectives
Development o f evenness, a g i l i t y and c l a r i t y o f a r t i c u l a t i o n in

making l a t e r a l movements o f th e fin g e rs in executing chromatic passages.

P rac tic e Procedure

Step 1: All step s in t h i s procedure should be p ra c tice d f o r a period o f

th ree days each in succession. The e n tir e study should be performed in

the upper h a l f o f the bow a t a tempo o f M.M. 60 to the eighth note.

S h if ts which p resen t d i f f i c u l t y should be p ra c tice d according to the

procedures ou tlin e d in Appendix A. Since the primary o b je c tiv e in

learnin g Study No. 8 i s to develop c l e a r and even a r t i c u l a t i o n in

chromatics, carefu l a tte n tio n must be given to th e two technical

p re s c rip tio n s given below. When one fin g e r i s used to execute two

consecutive notes a semi tone a p art:

a) The fin g e r pressure should be re le ase d before s lid in g to
the second note.

b) Only an extension o r co n tra ctio n o f the fin g e rs a t the

base knuckle should be used in executing a s l i d e .

In a ) , above, i t i s important to maintain only the minimum pressure

required to keep th e s t r i n g in c o n tac t with the fingerboard while

executing the s lid e . In b ) , above, the f i r s t j o i n t o f the fin g e r w ill

f l a t t e n ou t as i t extends in executing an ascending i n te r v a l. In

executing a descending i n te r v a l, th e f i r s t j o i n t , in combination with the

o th e r two jo i n t s o f the f in g e r, w ill assume an approximate square as
they c o n tra c t to the lo c a tio n on the fingerboard necessary to perform
lo
the lower p itc h .

The student should now continue playing through the study in

detache but a t f a s t e r tempos.

Step 2: D§tach£ a t th re e notes per p ulse—M.M. 60 to th e dotted eighth note.

Step 3: Detache a t fo u r notes per pulse—M.M. 60 to th e q u a rte r note.

Step 4: Detache a t six notes per p u lse —M.M. 60 to the dotted q u a rte r note.

METHOD B

P ractice Objective

Development o f c l a r i t y , evenness; and a g i l i t y in chromatic fin g e rin g

executed in legato bowing.

P ractice Procedure
The following process should be applied f o r twelve days:

Step 1: The e n t i r e study should be p ra c tice d with the p rin ted bowing

and using each o f the rhythms in Appendix C a t th e ra te o f two each day.

In th is process, the following p rin c ip le s should be observed:

a) Minimum fin g e r pressure should be used- during s lid e s when

the same fin g e r i s used to execute two consecutive p itc h e s

which are a semi-tone a p art.

b) An extended fin g e r p o sitio n ( f la tt e n e d f i r s t j o i n t ) should

be assumed when ascending a semi-tone. Finger j o i n t s should

^M arg aret Pardee, information given in m asterclass a t Estherwood

Music F e s tiv a l, Dobbs Ferry, New York, Ju ly 1985.
 16

form th e s q u are p o s i t i o n when descen d ing th e i n t e r v a l o f a

. . 14
semi to n e .

c) Bow d i s t r i b u t i o n must be even.

METHOD C

P r a c t i c e O b je c tiv e

The a b i l i t y t o perform t h e e n t i r e s tu d y as w r i t t e n a t a tempo

o f M.M. 69 to each d o tte d q u a r t e r n o te v a lu e .

P r a c t i c e Procedure

The f i r s t two s t e p s sh ou ld be p r a c t i c e d f o r one day each in

num erical o r d e r . S tep 3 sh o u ld be p r a c t i c e d f o r a p e rio d o f t h r e e

c o n s e c u tiv e days.

Step 1: The s tu d y sh o uld be p r a c t i c e d in two measure segments a t a

tempo o f M.M. 48 t o t h e d o tte d q u a r t e r n o t e . Each two measure segment

should be d iv id e d i n t o t h e s m a l l e s t component r e q u ir e d t o a t t a i n a b s o lu t e

a cc u ra cy o f p i t c h , evenness o f to n e and c o n t i n u i t y o f perform ance. The

s tu d e n t sh ou ld b u i l d each segment n o te by n o te , i f n e c e s s a r y , a t th e

given tempo to a t t a i n th e goal s t a t e d above. A f te r s u c c e s s f u l l y com pleting

a l l two-measure segm ents, th e s t u d e n t sh ou ld p r a c t i c e l a r g e r u n i t s .

Once th e s e l a r g e r u n i t s can be s u c c e s s f u l l y e x ec u te d w ith o u t i n t e r r u p t i o n ,

th e e n t i r e s tu d y sho uld be perform ed.

Step 2: The p ro cedu re in Step 1 sh o u ld be a p p lie d a t a tempo o f M.M. 56

to th e d o t t e d q u a r t e r n o te .

Step 3: The pro cedu re in S tep 1 sh o u ld be used a t a tempo o f M.M. 69

t o t h e d o tte d q u a r t e r n o te . When th e s t u d e n t can s u c c e s s f u l l y perform

th e s tu d y a t t h i s tempo, th e o b j e c t i v e s s t a t e d f o r t h i s s tu d y have been

atta in ed .
 17

P r a c t i c e Program
for
Study No. 9

P r a c t i c e O b je c tiv e s

The development o f f a c i l i t y in e x e c u tin g a rp e g g io s in detachS

and l e g a t o (Method A) and in s p i c c a t o (Method B).

METHOD A

Procedure

S tep 1: The e n t i r e s tu d y s h o u ld be perform ed in d etach e a t a tempo o f

M.M. 44 t o th e e i g h t n o te p u ls e . The fo llo w in g p r i n c i p l e s sh o u ld be

observed:

a) A ll s t r i n g c r o s s in g s sh o u ld be e x ec u te d by a movement o f

th e e n t i r e arm

b) The up p e r h a l f o f th e bow sh o u ld be used.

Step 2: The s tu d y sho u ld be p r a c t i c e d w ith th e p r i n t e d bowing, u sing

one t h i r d o f th e bow f o r each s i x t e e n t h n o te t r i p l e t . In t h i s s t e p ,

th e tempo sho uld be M.M. 80 t o th e e ig h th n o te p u ls e .

a) The s t u d e n t must ta k e c a r e t h a t th e v e r t i c a l motion o f

c r o s s i n g t h e s t r i n g s w ith th e e n t i r e arm does n o t i n t e r f e r e

w ith th e h o r iz o n ta l motion o f th e drawing o f t h e bow a c r o s s

th e s t r i n g . There i s a common tendency in p la y in g le g a t o

arp e g g io s t o allow t h e v e r t i c a l c r o s s in g motions o f th e bow

15
arm t o i n t e r f e r e w ith c o n t i n u i t y o f bow speed and p r e s s u r e .

S tep 3: The s t u d e n t sh o u ld p r a c t i c e th e s tu d y in l e g a t o a t a tempo o f

M.M. 120 t o t h e e ig h th n o te p u ls e . Care must be taken in e x e c u tin g th e

harm onics. I t i s im p o r ta n t t o remove th e f i n g e r which e x e c u te s th e

15Raphael B r o n s te i n , The Science o f V io lin P la y in g , 2nd ed.

(Neptune C ity , New J e r s e y : P ag anin ian a P u b l i c a t i o n , . I n c . , 1981), p. 26.
harmonic b e fo re t h e bow le a v e s th e s t r i n g . T his allo w s th e harmonic to

re s o n a te a t maximum cap acity .* ®

METHOD B

Procedure

The s tu d y sho u ld be p r a c t i c e d in s p i c c a t o bowing a t two tempos:

M.M. 100 t o th e e i g h t h n o te p u ls e ; and, M.M. 152 t o th e e ig h th no te

p u ls e . While p r a c t i c i n g in s p i c c a t o , t h e fo llo w in g p r i n c i p l e s should

be ob served :

a) The fo rearm s h o u ld be used t o i n i t i a t e each s t r o k e .

b) Extension o f r i g h t - h a n d f i n g e r s from th e knuckles sh ou ld

o c cu r on down-bow s t r o k e s .

c) C o n tra c tio n o f r i g h t - h a n d f i n g e r s sho u ld o c cu r on up-bow

stro k e sJ7

d) The hand must be a llo w ed to bend from th e w r i s t j o i n t in

th e d i r e c t i o n o f th e s t r o k e .
18
e) All s t r i n g c r o s s in g s sh o u ld be e x ec u te d w ith th e whole arm.

P r a c t i c e Program
f°r
Study No. 11

METHOD A

P r a c t i c e O b je c tiv e

To develop c l a r i t y o f a r t i c u l a t i o n in th e s h o r t t r i l l .

Procedure

16
P ardee, Estherwood M a s te rc la s s

17 Ib id .
1R
Galamian, P rin cip le s o f V io lin Playing and Teaching, p. 76.
 19

The fo llo w in g s te p s sh ou ld be re p e a te d f o r th e f i r s t f o u r days o f s tu d y .

In th e s h o r t t r i l l , te c h n i c a l development in e x e c u tin g th e b eg in n in g i s

o f te n emphasized a t th e expense o f a t t e n t i o n t o t h e te r m in a tio n o f th e

trill. In th e method p re s e n te d a s f o ll o w s , th e l e f t - h a n d p i z z i c a t o
19
a c ti o n i s used as an a i d t o end ing th e t r i l l w ith c l e a r a r t i c u l a t i o n .

S tep 1: The e n t i r e s tu d y sh ou ld be p r a c t i c e d as w r i t t e n a t a tempo o f

M.M. 63 t o th e e ig h th n o te p u ls e .

In p r a c t i c i n g S tep 1, th e s t u d e n t should o bserve t h e fo llo w in g

d ire c tio n s:

a) The mordent sh o u ld be e x e c u te d as p r i n t e d ; n o t as a t r i l l .

b) In e x e c u tin g th e m ordent, t h e f i n g e r s h o u ld drop f ir m ly

w ith o u t e x c e s s iv e p r e s s u r e .

c) As th e f i n g e r le a v e s th e s t r i n g , i t sh o u ld p u ll s l i g h t l y

toward th e r i g h t . T h is w i l l approxim ate t h e l e f t - h a n d

20
p i z z i c a t o te c h n iq u e in f i n g e r a c t i o n . S p e c ia l c a r e must

be taken n o t t o e x e r t to o much v e r t i c a l f i n g e r p r e s s u r e

s im u lta n e o u s ly w ith t h e l i f t i n g o f t h e f i n g e r . Excessive

f i n g e r p r e s s u r e r e n d e rs t h e development o f a r a p id t r i l l

v i r t u a l l y im p o s s ib le .

d) Each mordent sh ou ld be e x e c u te d a t t h e b eg in n in g o f t h e no te

on which i t a p p e a rs .

METHOD B

P r a c t i c e O b je c tiv e s

Development o f speed and evenness o f f i n g e r a c t i o n a r e p r i n c i p l e

1Q
Galamian, P r i n c i p l e s o f V io lin P la y in g and T eachin g, p. 30.

^°The f i n g e r s h o u ld n o t be p u lle d o f f t h e f in g e r b o a r d h o r i z o n t a l l y ;
r a t h e r i t sho uld be l i f t e d a t a f o r t y - f i v e degree a n g le .
 20

g o a ls in dev elo p in g a w ell a r t i c u l a t e d t r i l l . The development o f both

t h e dropping and t h e l i f t i n g movement o f t h e t r i l l f i n g e r sh o u ld re c e iv e

21
equal emphasis when p r a c t i c i n g th e fo llo w in g program.

Procedure

The fo llo w in g p ro c e d u re sh o u ld be r e p e a te d each day f o r a p e rio d

o f seven days.

S tep 1: Each mordent sh o u ld be i s o l a t e d and p r a c t i c e d a s a s h o r t t r i l l

u s in g th e e x e r c i s e s p r e s c r i b e d in Appendix D.

S tep 2: The s tu d y sh o u ld be d iv id e d i n t o two measure segm ents. Each

segment sh ou ld be p r a c t i c e d a t a tempo o f M.M. 69 t o t h e q u a r t e r n o te

p u ls e . Each segment s h o u ld be p r a c t i c e d , n o te by n o te i f n e c e s s a r y ,

u n t i l i t can be e x e c u te d a c c u r a t e l y w ith com plete c o n t i n u i t y . Segments

sho uld be p r a c t i c e d c u m u la tiv e ly u n t i l te n o r tw elve measure u n i t s can

be e x e c u te d a c c u r a t e l y . The s t u d e n t sh o u ld then be a b le t o perform th e

e n t i r e s tu d y c o r r e c t l y and w ith o u t i n t e r r u p t i o n s .

Step 3: The same p ro c e ss o f b u ild in g f o r c o n t i n u i t y and a cc u ra cy in

s e c t i o n s sh o u ld now be a p p l i e d a t a tempo o f M.M. 80 t o t h e q u a r t e r n o te

p u l s e . . F i n a l l y , th e s t u d e n t sh o u ld perform th e s tu d y a t t h e same tempo.

P r a c t i c e Program
t or
Study No. 12

P r a c t i c e O b je c tiv e

The development o f c l a r i t y o f a r t i c u l a t i o n when e x e c u tin g two

to n e s a s e m i-to n e a p a r t w ith th e same f i n g e r .

P r a c t i ce Procedure

All s t e p s o f t h e fo llo w in g program sh o u ld be p r a c t i c e d each day

^ B a r r e t t , The V io la , p. 60.
f o r seven days

Step 1: The e n t i r e s tu d y sh o u ld be p r a c t i c e d a t a tempo o f M.M. 72 to

th e e ig h th n o te p u ls e . The upper h a l f o f th e bow sh o u ld be used.

C o n s is te n t bow speed and p r e s s u r e must be used.

A r t i c u l a t i o n o f t h e f i r s t o f each p a i r o f s l u r r e d n o te s i s

i n h e r e n t l y r e a l i z e d through t h e change o f bow. The second o f th e two

n o te s under th e s l u r i s a r t i c u l a t e d by a r a p id drop o f th e f i n g e r o n to

th e s t r i n g when a d i f f e r e n t f i n g e r i s used. When t h e same f i n g e r i s

used t o e x e c u te a s l u r r e d p a i r o f n o te s which a r e a s e m i-to n e a p a r t ,

a s l i d i n g motion o f t h e f i n g e r must be used. In making t h e s l i d e , th e

fo llo w in g p r i n c i p l e s must be observ ed.

a) The f i n g e r p r e s s u r e must be reduced (w ith o u t l i f t i n g th e

f i n g e r from th e s t r i n g ) as th e s l i d e i s ex ec u te d .

b) The s l i d e must be tim ed so as t o o c c u r in th e f i n a l p o r tio n

22
o f th e tim e v a lu e o f t h e n o te on which i t i s i n i t i a t e d .

c) Upon re a c h in g th e second n o t e , th e f i n g e r p e rfo rm ing th e

s l i d e reassumes normal p r e s s u r e on t h e f i n g e r b o a r d ( f ir m
23
but not ex cessiv e).

Step 2: P a t t e r n s t h i r t e e n th ro ug h e ig h te e n from Appendix C sh ou ld be

p r a c t i c e d a t a tempo o f M.M. 77 to th e q u a r t e r n o te p u ls e . The s tu d e n t

should a p ply one p a t t e r n each day.

Step 3: The s tu d y sh o u ld be p r a c t i c e d f o r c o n t i n u i t y . Two measure

segments sh o u ld be p r a c t i c e d , b e a t by b e a t i f n e c e s s a r y , u n t i l th e y can

be p la y ed a c c u r a t e l y a t a tempo o f M.M. 116 t o t h e q u a r t e r n o te p u ls e .

ZZIn a p p ly in g t h i s p r i n c i p l e t h e f i n g e r sh o u ld n o t r e l a x th e
p r e s s u r e t o p re p a re f o r th e s l i d e u n t i l t h e l a s t q u a r t e r o f t h e v alue
o f th e n o te upon which t h e s l i d e i s made.

P ardee, Estherwood M a s te r c la s s .
 22

The s tu d y sh ou ld be perform ed a t t h e same tempo. S te p 3 s h o u ld be

re p e a te d f o r th r e e c o n s e c u tiv e days.

P r a c t i c e Program
for
Study No. 13

P r a c t i c e O b je c tiv e s

a ) The development o f f lu e n c y in th e e x e c u tio n o f s t r i n g

c r o s s i n g s ; b oth th o s e made w ith t h e whole arm and th o s e

made w ith th e r i g h t hand o n ly .

b) The development o f c o r r e c t tim in g o f t h e l e f t hand movements

f o r p ro p e r a r t i c u l a t i o n in le g a t o s t r i n g c r o s s i n g s .

Procedure

Many problems in v o lv in g a r t i c u l a t i o n in p assages c o n ta in in g

le g a to s t r i n g c r o s s i n g s r e s u l t from f a i l u r e t o p r o p e r ly c o o r d in a te th e

p la y in g movements o f th e l e f t and r i g h t hands. Among t h e two most

common e r r o r s a r e t h a t :

a) t h e f i n g e r which ta k e s th e n o te im m ediately p r i o r t o th e

s t r i n g c r o s s in g i s l i f t e d to o e a r l y

b) th e f i n g e r which ta k e s th e n o te im m ediately a f t e r th e s t r i n g
24
c r o s s in g i s n o t in p la c e soon enough.

To p re v e n t th e problems c i t e d ab ove, th e fo llo w in g pro cedu re sh o u ld be

a p p lie d . Steps 1, 2 and 3 sh o u ld be p r a c t i c e d c o n c u r r e n t ly f o r a

p e rio d o f t h r e e days.

S tep 1: All measures a r e t o be i s o l a t e d in which an a r p e g g ia te d chord

in v o lv in g a l l f o u r s t r i n g s in s u c c e s s io n o c c u rs on b e a t one. The f i r s t

b e a ts o f t h e s e measures sh o u ld be p r a c t i c e d a c c o rd in g t o t h e p ro c e ss

Galamian, P rin cip le s o f V io lin Playing and Teaching, p. 66.

 23
25
given in F i g u r e ,4.

F ig ure 4 — P o n t, Twenty-Four S t u d i e s , Opus 37, Study No. 1 3 , . measure 14.

as w r i t t e n :
a

e x e c u tio n :

When p r a c t i c i n g a c c o rd in g t o th e p re c ed in g exam ple, t h e s t u d e n t

sh o u ld :

a) Use th e f u l l bow a t a tempo Of M.M. 52 t o t h e s i x t e e n t h n o te .

b) Use an even a r c - l i k e motion o f t h e whole arm in c r o s s in g

26
th e s t r i n g s .

c) Execute th e t r a n s i t i o n from th e p r i n t e d n o te s t o t h e

i n t e r p o l a t e d double s t o p s so smoothly t h a t i t i s v i r t u a l l y
27
im p e r c e p t ib le .

d) Set a l l f i n g e r s o f th e l e f t hand b e fo re i n i t i a t i n g t h e s t r o k e .

A ll f i n g e r s s h o u ld remain in p la c e u n t i l th e e n t i r e f i r s t
28
b e a t o f th e measure has been p la y ed .

There a r e many m easures in which a d ja c e n t s t r i n g c r o s s in g s must

2^P o n t, Twenty-Four S t u d i e s , Opus 3 7, p. 18.

Z6E l iz a b e th A. H. Green, Teaching S t r i n g e d : In s tru m e n ts in C l a s s e s ,

Englewood C l i f f s , New J e r s e y :! ' P r e n tl c e - f ia l! I n c . , 1 9 6 6 ), p. 73.

^ G a l a m i a n , P r i n c i p l e s o f V io lin P la y in g And T e a c h in g , p. 65.

28
G reen, Teaching S tr in g e d In s tru m e n ts in C l a s s e s , p. 73.
be made between e ach n o te . To In s u r e th e p r e p a r a t i o n o f t h e l e f t hand

f i n g e r s 1n advance o f th e bowing a c t i o n , th e e x e r c i s e I l l u s t r a t e d 1n
29
F igu re 5 , and s p e c i f i e d 1n S te p 2 , sh o u ld be u sed .

Fig ure 5 - - Dont, Twenty-Four S t u d i e s , Opus 37, Study No. 13, measure 3.

as w ritte n :

e x e c u tio n :

S te p 2: A ll measures .s im ila r t o th e measure In F igu re 5 , s h o u ld be

p r a c t i c e d a c c o rd in g t o th e fo llo w in g p r i n c i p l e s :

a) The f i n g e r s f o r each double s to p s h o u ld be s e t s im u lta n e o u s ly ,

and a d j u s t e d f o r p r e c i s e I n t o n a t i o n .

b) The f u l l u p p e r h a l f o f t h e bow sh o u ld be u se d f o r each

d ouble s to p

c) A tempo o f M.M. 60 t o t h e e i g h t h n o te p u ls e s h o u ld be u sed.

S tep 3: The same p o r t i o n s o f Study No. 13 p r a c t i c e d In S te p 2 s h o u ld be

e x e c u te d 1n l e g a t o bowing, a s p r i n t e d . A tempo o f M.M. 60 t o t h e e i g h t h

n o te p u ls e s h o u ld be u sed. The s t u d e n t must ta k e c a r e to d i f f e r e n t i a t e

between t h e t h r e e k in d s o f s t r i n g c r o s s i n g te c h n iq u e s r e q u i r e d In

29
Dont, Twenty-Four S t u d i e s , Opus 37, p. 18.
 25
30
measures such a s th e one below 1n F ig ure 6.

F ig u re 6 — Dont, Twenty-Four S t u d i e s , Opus 37, No. 13, measure 3.

The t h r e e s t r i n g c r o s s in g te c h n iq u e s used a r e as fo llo w s :

a) S t r i n g c r o s s in g s a t th e f r o g made between a d ja c e n t s t r i n g s

must be e x e c u te d w ith a r o t a t i o n o f th e fo rearm from th e

31
elbow j o i n t . T his te c h n iq u e 1s used from t h e fr o g through

t h e lo w e r t h i r d o f th e bow (a s in b e a t one o f F ig u re 6 ) .

b) S t r i n g c r o s s i n g s th ro u g h o u t th e upp er two t h i r d s o f t h e bow

must be e x e c u te d by a r a i s i n g and lo w e rin g o f th e hand from

t h e w r i s t j o i n t (a s in b e a ts two and t h r e e o f F igu re 6 ) .

Only th e minimum movement r e q u ir e d t o a l t e r n a t e between

32
s t r i n g s r a t h e r th a n p la y a double s to p sh o u ld be used.

c) The t h i r d v a r i e t y o f s t r i n g c r o s s in g r e q u i r e d in measures

such as t h e one in F igu re 6 r e q u i r e s th e movement o f th e whole

arm. The n o te s o f each s u c c e s s iv e b e a t o f measure 3

a r e e x e c u te d on a d i f f e r e n t p a i r o f a d j a c e n t s t r i n g s . The

n o te s o f b e a t one a r e e x e c u te d on th e G and D s t r i n g s ;

th o s e o f b e a t two on t h e D and A; and, th o s e o f b e a t th ree

on t h e A and E s t r i n g s . For t h i s reason t h e whole arm must

move t o a new le v e l o r p la n e f o r each s u c c e s s iv e b e a t . In

31
Galamian, P r i n c i p l e s o f V io lin P la y in g and T e a ch in g , p. 67.

32F le s c h , The A rt o f V io lin P la y in g , v o l. 1, p. 62.

 26

each b e a t , t h e p ro p e r p la n e o f th e arm w ill b e .o n e which

would allow th e p la y in g o f a double s to p c o n s i s t i n g o f

th e given two a d j a c e n t s t r i n g s in v o lv e d f o r t h a t p a r t i c u l a r

b e at. The arm b e g ins t o move i n t o p o s i t i o n f o r b e a t two

w h ile t h e f i n a l n o te o f b e a t one i s s t i l l sounding. In

t h i s way, t h e bow arm i s a l r e a d y in p o s i t i o n b e fo re e x e c u tin g

th e f i r s t n o te o f b e a t two. The same p ro c e ss i s r e p e a te d on

th e f i n a l n o te o f b e a t two in p r e p a r a t io n f o r b e a t t h r e e .

Step 4: At a p u ls e o f M.M. 66 t o th e q u a r t e r n o t e , th e e n t i r e s tu d y sh o u ld

be p r a c t i c e d u s in g t h e p r i n t e d bowings w ith rhythms t h i r t e e n through

tw e n ty - f o u r from Appendix C. Two rhythms sh o u ld be a p p lie d f o r each day

o f p ra c tic e .

S tep 5: The s tu d y sh o u ld be p r a c t i c e d in segments t o b u i l d f o r c o n t i n u i t y

in perform ance. In t h i s p ro c e ss th e s t u d e n t sh o u ld u l t i m a t e l y . b e a b le

t o perform th e e n t i r e s tu d y a c c u r a t e l y w ith o u t s to p s a t a tempo of.M.M.

100 t o th e q u a r t e r n o te p u l s e . S te p s 4 and 5 sho uld be p r a c t i c e d

c o n c u r r e n t ly f o r s i x days.

P r a c t i c e Program

Study No. 16

P r a c t i c e O b je c tiv e s

Development o f f lu e n c y in l e g a t o s t r i n g c r o s s in g s and th e

te c h n iq u e s o f a r t i c u l a t i o n used by bo th l e f t and r i g h t hands.

Procedure

S tep 1: The s tu d y should be p r a c t i c e d a t a tempo o f M.M. 100 t o th e

e i g h t h n o te p u l s e . Full bow s t r o k e s sh o u ld be e x ec u te d f o r e v e ry s t r o k e .

The fo llo w in g p r i n c i p l e s sh o u ld be a p p l i e d in t h i s s t e p :
 27

a) When c r o s s i n g between a d j a c e n t s t r i n g s o n ly th e l i f t i n g

o r drop pin g o f t h e bow hand from th e w r i s t j o i n t i s used

to make th e c r o s s i n g m otion.

b) When a d j a c e n t s t r i n g c r o s s i n g s in v o lv e more th a n one p a i r

o f a d j a c e n t s t r i n g s in one p a s s a g e , t h e whole arm must be

33
used t o c r o s s t o t h e new p a i r . In th e example in F ig u re 7 ,

below, t h e whole arm i s r e q u i r e d in c r o s s i n g t h e s t r i n g s

d u rin g t h e e x e c u tio n o f th e f i r s t t h r e e n o te s o f measure

28. The whole arm p i v o t s e v en ly from t h e A s t r i n g —E s t r i n g

p la n e t o th e D s t r i n g —A s t r i n g p la n e .

F ig ure 7 — Dont, Twenty-Four S t u d i e s , Opus 37 , No. 1 6, m easures 27 and 28.

whole arm motiorf

used t o c r o s s s t r i n g

A ll s t r i n g c r o s s i n g s made Im m ediately p re c e d in g and fo llo w in g

th e f i r s t t h r e e n o te s o f measure 28 a r e e x e c u te d e x c l u s i v e l y

w ith a hand m otion from th e w r i s t ,

c) A r t i c u l a t i o n 1n Study No. 16 I s e x e c u te d in th e t h r e e

fo llo w in g methods:

c-1 — A f ir m sn app ing a c t i o n i s used in drop pin g th e

l e f t - h a n d f i n g e r s t o a r t i c u l a t e t h e second o f two

given n o te s e x e c u te d on t h e same s t r i n g when th e

i n t e r v a l 1s a sc e n d in g .

c -2 — An a c t i o n s i m i l a r t o t h a t o f t h e l e f t - h a n d p i z z i c a t o

P o n t , ' Twentfr-FOur S t u d i e s , Opus 37 , p. 25.

 i s used t o l i f t t h e f i n g e r e x e c u tin g th e f i r s t o f a

tw o-note p a i r in which t h e i n t e r v a l between t h e given

two n o te s i s descen din g .

c-3 - - When making any s t r i n g c r o s s i n g , th e f i r s t n o te t o

be e xecuted fo llo w in g t h e c r o s s in g sh o u ld be

a r t i c u l a t e d by in c r e a s e d bow speed and p r e s s u r e

34
p r e c i s e l y a t t h e b eg in n in g o f th e n o te .

S tep 2: All rhythms from Appendix C sh ou ld be a p p lie d a t a tempo o f

H.M. 80 t o th e q u a r t e r n o te p u ls e .

Step 3: The s tu d y sh o u ld be p r a c t i c e d in f o u r measure segments. The

s t u d e n t sh ou ld p r a c t i c e in as small a u n i t as i s needed t o a ch ie v e

a c c u r a te e x e c u tio n o f a given s e r i e s o f n o te s w ith o u t i n t e r r u p t i o n .

Notes sh o u ld be added u n t i l an e n t i r e f o u r measure segment can be

perform ed w ith o u t s t o p s . Each su cc e ed in g s e c tio n sh o u ld be p r a c t i c e d

in th e same manner.

The u lt i m a t e goal i s a c c u r a te u n i n t e r r u p t e d perform ance o f th e

e n t i r e s tu d y a t M.M. 69 t o th e d o t t e d q u a r t e r n o te p u ls e .

P r a c t i c e Program
fo r . .
Study No. 17

P r a c t i c e O b je c tiv e s

a) The development o f evenness and c l a r i t y o f a r t i c u l a t i o n in

t h e measured t r i l l .

b) The a tta in m e n t o f d e x t e r i t y in making a d j a c e n t s t r i n g c r o s s in g s .

OA
Galamian, P r i n c i p l e s o f V io lin P la y in g and T e a ch in g , p. 10.
 29

Procedure

S tep 1: The e n t i r e stu d y sho uld be p r a c t i c e d a t M.M. 54 to th e q u a r t e r

n ote p u l s e , t h e s t u d e n t sho uld ap p ly a l l th e p r i n c i p l e s g iv en as

f o llo w s :
35
a) The whole bow sh o uld be used f o r a l l s t r o k e s .

b) Even bow d i s t r i b u t i o n sh o u ld be used e x a c t l y h a l f th e

bow's le n g th f o r each q u a r t e r n o te b e a t.

c) In c r o s s in g from a g iv e n s t r i n g to a low er p itc h e d a d j a c e n t

s t r i n g , a c o u n te r -c lo c k w is e r o t a t i o n o f t h e forearm sho uld

be u sed. This motion sh ou ld be combined w ith a l i f t i n g o f

t h e r i g h t hand f i n g e r s from t h e knuckle j o i n t s . C o n v erse ly ,

a clo ck w ise forearm r o t a t i o n and c o n c u r re n t e x te n s io n o f

th e f i n g e r s from th e knuckles sh ou ld be used in c r o s s in g

from a given s t r i n g t o a h ig h e r p itc h e d a d ja c e n t s t r i n g .

d) To c r o s s a d j a c e n t s t r i n g s when e x e c u tin g s t r o k e s in th e

upper two t h i r d s o f th e bow, a v e r t i c a l motion o f th e hand

07
from t h e w r i s t j o i n t must be used.

e) In measures s i x t e e n th ro u g h n in e te e n t h e bowing i s s l u r r e d

so t h a t each s t r o k e o v e rla p s th e f i r s t n o te o f each

s u c c e s s iv e b e a t o r h a l f - b e a t . To in s u re c l e a r a r t i c u l a t i o n

o f t h e l a s t n o te w ith in each s l u r , a s l i g h t in c r e a s e o f bow

sp ee d and p r e s s u r e must be a p p l i e d on t h a t given n o te .

f) The s t u d e n t sh o u ld a p p ly th e p ro c e d u res s p e c i f i e d in Appendix

or
Exception w ill be made in measures e ig h te e n and n in e te e n where
th e f o u r - n o t e s l u r s a r e e x e c u te d w ith th e upper h a l f o f t h e bow.

36I b i d . , p. 65.

37F le s c h , The A rt o f V io lin P la y in g , v o l. 1, p. 62.

 30

D t o any given t r i l l which p r e s e n ts d i f f i c u l t y o f e x e c u tio n .

S tep 2: The s tu d y sh ou ld be b u i l t in fou r-m easu re segm ents. In itia lly ,

each b e a t o f each measure sho u ld be e x ec u te d in i s o l a t i o n ; o v e rla p p in g

t o th e f i r s t n o te o f t h e su cc e ed in g b e a t . Next, th e segment sh o u ld be

p ra c tice d c u n m u la tiv e ly , adding b e a t by b e a t. B eats sh ou ld be added in

s u c c e s s io n u n t i l th e e n t i r e segment can be perform ed a c c u r a t e l y w ith o u t

sto p s. Segments sho u ld be added u n t i l a l l o f th e stu d y can be ex ec u te d

a c c u r a t e l y and c o n tin u o u s ly a t a tempo o f M.M. 69 t o th e q u a r t e r - n o t e

p u ls e .

P r a c t i c e Program
for
Study No. 18

P r a c t i c e O b je c tiv e s

a) Development o f c o r r e c t te c h n iq u e s o f both th e l e f t and

r i g h t hands in o b ta in in g c l e a r a r t i c u l a t i o n in le g a t o .

b) L earning p ro p e r movements and tim in g te c h n iq u e s o f l e f t

hand f i n g e r s to a t t a i n e x a c t c o o r d in a tio n o f p la y in g

movements o f th e l e f t hand and th e bowing a c t i o n .

c) Development o f good i n to n a tio n in e x e c u tin g broken t h i r d s

and s i x t h s .

Procedure

S tep 1: Whole bow s t r o k e s sh ou ld be used in e x e c u tin g each c o n s e c u tiv e

p a i r o f s i x t e e n t h n o te s as double s to p s as su g g e ste d on page tw e n ty - e ig h t

38
o f t h e Galamian e d i t i o n . Each double s to p sh o u ld be e x e c u te d on a

s e p a r a t e bow s tr o k e a t a p u ls e o f M.M. 44 to each n o te . However, i f th e

op
Dont, Twenty-Four S t u d i e s , Opus 37, p. 28.
 31

in t o n a t i o n i s n o t s u r e , th e s tu d e n t sh o u ld a d j u s t t h e f i n g e r s u n t i l the

c o rre c t p itc h e s are a tta in e d . Only then sh o u ld t h e s t u d e n t proceed to

t h e n e x t double s t o p . When each p i t c h i s t r u e , th e s t u d e n t w i l l d e t e c t

a c e r t a i n smoothness o f ton e q u a l i t y . This a u r a l smoothness i s th e

r e s u l t o f t h e combination to n e , a t h i r d to n e which w ill sound o n ly i f

t h e two n o te s o f a given double s to p a r e in p e r f e c t harmonic

39
temperament. In p r a c t i c i n g th e p ro c e d u re in S tep 1, th e s t u d e n t

should o b se rv e th e fo llo w in g :

a) In t h e e x e c u tio n o f two c o n s e c u tiv e s i x t h s (w h ether asc e n d in g

o r d e s c e n d in g ), t h e f i n g e r s h a re d in common in e x e c u tin g

b o th double s to p s must be moved by, s l i d i n g i t a c r o s s th e

40
s t r i n g t o i t s l o c a t i o n f o r th e n e x t s u c c e s s iv e n o te .

b) In e x e c u tin g f i f t h s , t h e f i n g e r t i p sh o u ld be c e n te r e d i n -

between th e two s t r i n g s t o be p la y e d .^ *

S tep 2: The stu d y sh o u ld be perform ed as w r i t t e n a t a tempo o f M.M. 52

t o th e q u a r t e r n o te p u ls e . Whole bow s t r o k e s sho u ld be used w ith even

bow d i s t r i b u t i o n . In t h i s s t e p , th e s t u d e n t sho uld use p ro p e r te c h n iq u e s

o f a r t i c u l a t i o n d e s c r ib e d a s fo llo w s :

a) When e x e c u tin g c o n s e c u tiv e n o te s which o c c u r a l t e r n a t e l y on

a d ja c e n t s t r i n g s , t h e a r t i c u l a t i o n i s r e a l i z e d through a

b r i e f in c r e a s e in bow speed and p r e s s u r e a p p lie d

s im u lta n e o u s ly w ith t h e a t t a c k o f each n o te . Each s t r i n g

42
c r o s s in g sh o u ld be made r a p i d l y .

^9 F le s c h , The A rt o f V io lin P la y in g , v o l. 1, p. 22

^ ° B a r r e t t , The V io la , p. 63.

^ B r o n s t e i n , The S cience o f V io lin P l a y i n g , p. 15.

^Galamian, P rin cip le s o f V io lin Playing and Teaching, p. 65.

 32

b) Two o r more c o n s e c u tiv e n o t e s , which ascend in p itc h and

which a r e e x e c u te d on th e same s t r i n g , a r e a r t i c u l a t e d by

a sn app in g a c t i o n o f th e l e f t hand f i n g e r s as th e y drop onto

4T
t h e f in g e r b o a r d .

c) In a descending s e r i e s o f n o te s e x ec u te d on t h e same s t r i n g ,

a given n o te w i l l be a r t i c u l a t e d by th e f i n g e r which e x e c u te s

t h e im m ediately p re c e d in g n o te . The f i n g e r ta k in g th e

p re c e d in g n o te i s p u l l e d s l i g h t l y t o th e r i g h t a s i t i s

l i f t e d from t h e s t r i n g , e f f e c t i n g an a c t i o n s i m i l a r t o t h a t
44
o f le ft-h a n d p iz zica to .

Step 3: The s tu d y sh ou ld be p r a c t i c e d a t a tempo o f M.M. 104 t o th e

q u a r t e r n o te p u ls e . Two-measure segments sh ou ld be p r a c t i c e d , ad din g

segments u n t i l t h e e n t i r e s tu d y can be perform ed a c c u r a t e l y w ith o u t

in te rru p tio n .

P r a c t i c e Program
for
Study No. 21

P r a c t i c e O b je c tiv e

The development o f m u l t i p l e s t r i n g c r o s s in g and a d ja c e n t s t r i n g

c r o s s in g te c h n iq u e s in le g a t o bowing.

Procedure

S te p 1: The e n t i r e s tu d y sh ou ld be p r a c t i c e d a t a tempo o f M.M. 52 to

th e h a l f n o te p u ls e . The fo llo w in g p r i n c i p l e s sh o u ld be observed when

a p p lic ab le .

^ B a r r e t t , The V io la , p . 60.

^ G a la m ia n , P r i n c i p l e s o f V io lin P lay in g and T eachin g, p. 10.

 33

a) When a d j a c e n t s t r i n g c r o s s i n g s a r e r e q u i r e d between two

n o te s w ith in one given b e a t :

a -1 ) A hand m otion from t h e w r i s t j o i n t 1s r e q u i r e d when

t h e c r o s s i n g o c c u rs 1n t h e upp er two t h i r d s o f th e bow.

a-2) A r o t a r y m otion o f t h e fo rea rm and an a p p r o p r i a t e

v e r t i c a l f i n g e r motion a r e r e q u i r e d when 1n th e low er

t h i r d o f th e bow.45

b) Most s t r i n g c r o s s in g s which o c c u r between b e a ts 1n t h i s s tu d y

r e q u i r e c r o s s i n g more th an one s t r i n g . S t r i n g c r o s s in g s o f

t h i s c a te g o r y r e q u i r e t h a t th e e n t i r e arm move s im u lta n e o u s ly

t o th e p la n e o f th e s t r i n g on which th e n o te fo llo w in g th e

c r o s s i n g 1s to be p la y e d . I t 1s sometimes n e c e s s a r y t o

c r o s s t o a p la n e which w i l l f a c i l i t a t e p la y in g two s t r i n g s

a t once. As shown 1n F ig u re 8 , 45 below , th e n o te s o f

b e a t two o f measure one r e q u i r e p la y in g b o th th e A and D

strin g s. T h e r e f o r e , when th e c r o s s in g 1s made from t h e l a s t

n o te o f b e a t one, t h e whole arm must c r o s s from t h e E s t r i n g

p la n e t o th e D s tr1 n g -A s t r i n g p la n e . The r i g h t hand

rem ains r a i s e d from t h e w r i s t w h ile e x e c u tin g th e f i r s t two

F ig u re 8 - - P o n t, Twenty-Four S t u d i e s , Opus 37, Study No. 2 1 , measure 1.

4 5I b 1 d . , p. 67.

45Dont, Twenty-Four S t u d i e s , Opus 37* p. 32

 34

n o te s o f b e a t two. The hand 1s lowered p r e c i s e l y as th e

a t t a c k o f th e t h i r d n o te (g ) i s made.

Step 2: The stu dy should be p r a c t i c e d a t a tempo o f M.M. 72 to t h e h a l f

n o te p u ls e . Two measure segments sh ou ld be p r a c t i c e d , adding n o te s b e a t

by b e a t . When each segment can be e x ecu ted a c c u r a t e l y a t th e given

tempo, th e e n t i r e s tu d y should be perform ed. In p r a c t i c i n g Step 2 , th e

s tu d e n t sh ou ld ob serve th e fo llo w in g :

a) Even bow d i s t r i b u t i o n sh o u ld be m a in ta in e d , each f o u r no te

group bein g a l l o t t e d one t h i r d o f th e bow's le n g th .

b) The bow must be drawn w ith even p r e s s u r e o f th e bow h a i r

on th e s t r i n g th ro u g h o u t each s t r o k e .

c) Rapid movements should be used In e x e c u tin g s t r i n g c r o s s i n g s .

This w i l l In s u re c l e a r a r t i c u l a t i o n o f th e f i r s t n o te to be

played on th e s t r i n g to which th e c r o s s in g 1s made.

d) Each a d ja c e n t s t r i n g c r o s s in g sh o u ld encompass th e s m a l l e s t

p o s s ib le d is ta n c e 1n th e motion used. This w i l l In s u re th e

most e f f i c i e n t a c t i o n o f th e r i g h t hand a s I t moves from

th e w r i s t j o i n t . ^

4^ F le s c h , The A rt o f V io lin P la y in g , v o l. 1, p. 61.

 CHAPTER TWO

STUDIES IN MIXED BOWINGS

P r a c tic e Program
for
Study NO. 2

P r a c tic e O b je c tiv e s

The development o f f a c i l i t y in ex ec u tin g d e ta c h e , m a rte le and

48
mixed bowings.

Procedure

Step 1: The s tu d e n t should p r a c t i c e th e study in detache bowing

in itia lly . This w ill allow e x c lu s iv e c o n c e n tra tio n on th e problems o f

e x ec u tio n o f th e l e f t hand. I t w ill then be e a s i e r to solve th e problem

49
o f e x e c u tin g th e s tu d y w ith th e mixed bowing p a t t e r n s .

For a p e rio d o f e i g h t day s, th e s tu d e n t should p r a c t i c e th e stu dy

in detach e bowing in accordance w ith th e fo llow in g procedure:

a) All rhythms from Appendix C should be a p p lie d a t a tempo

o f M.M. 72 to th e q u a r t e r n o te p u ls e , a t a r a t e o f th r e e

rhythms each day. Detache should be used to execute n o te s

o f a s ix te e n th n o t e 's d u ra tio n o r s h o r t e r . For e ig h th n o te s ,

48
For a complete e x p la n a tio n o f th e o b j e c t i v e s and procedures
involved in th e p r a c t i c e o f mixed bowings, th e s tu d e n t should r e f e r to
Appendix E.
49
Step 1 in c o rp o ra te s th e p r i n c i p l e o f s e p a r a tio n o f te c h n ic a l
problems in p r a c t i c i n g , as s t a t e d in Robert G erle, The A rt o f P r a c t i s i n g
th e V io lin (London: S t a i n e r and Bell L t d ., 1983), p. 177”

35
 36

our n o te s o f lo n g e r d u r a t i o n , m a r te le sh o u ld be u sed. All

s t r o k e s sh o u ld be c o n fin e d t o th e upper h a l f o f th e bow.

b) Detache sh o u ld be a p p lie d in p r a c t i c i n g th e s tu d y w ith th e

p r i n t e d no te v a lu e s . At a p u ls e o f M.M. 72, th e s tu d y

sh o u ld be e x e c u te d a t r a t e s o f : two n o te s p e r p u l s e ; t h r e e ,

f o u r and f i n a l l y , s i x n o te s p e r p u ls e . Even speed and

p r e s s u r e o f t h e bow sh o uld be m a in ta in ed on a l l s t r o k e s .

The e n t i r e upper h a l f o f th e bow sh o u ld be used f o r each

s tro k e .^ 0

S te p 2: The e n t i r e s tu d y sh o u ld be p r a c t i c e d in mixed bowings, as

p rin ted . Only th e upper h a l f o f t h e bow sho u ld be used . The o n ly

e x c e p tio n s w i l l be in measures 17-19. In th e s e m easures, f u l l bow

s tr o k e s sh o u ld be used where s l u r s o f f i v e o r s i x n o te s a r e i n d i c a t e d

in th e Galamian E d i tio n . The e n t i r e upper h a l f o f th e bow sh ou ld be

used f o r th e e x e c u tio n o f n o te s tak en on s e p a r a t e bow. s t r o k e s . In

a d d i t i o n , th e e n t i r e upper h a l f o f th e bow sh o u ld be used in e x e c u tin g

s l u r s o f both two and t h r e e n o t e s . The e n t i r e s tu d y sho uld be p r a c t i c e d

a c c o rd in g t o th e p r e s c r i p t i o n s o f a r t i c u l a t i o n given below. For c o r r e c t

pro cedu re in a p p ly in g p r i n c i p l e s o f bow sp eed , bow p r e s s u r e and sounding

p o in t p lacem ent, th e s tu d e n t sho u ld r e f e r t o th e Summary o f Appendix E.

a) The e n t i r e s tu d y sh o u ld be p r a c t i c e d a t a tempo o f M.M. 72

t o th e e ig h th n o te v a lu e . The s e p a r a t e l y bowed n o te s should

be e x e c u te d in m a r te le a t a sounding p o in t o f 2 .5 B.H.R.W.

from t h e b r id g e . The s l u r s o f two n o te s a r e e x ec u te d in

le g a t o bowing a t a sounding p o in t o f 1 B.H.R.W. from th e

50
P a rd e e , Estherwood M a s te r c la s s .
 37
b r id g e . The s l u r s o f t h r e e n o te s a r e e x ec u te d in le g a t o

bowing a t a sounding p o in t o f 1 .5 B.H.R.W. from th e b r id g e .

The s l u r s in measures 17-19 a re ex ec u te d w ith th e f u l l bow

a t a sounding p o i n t o f 1 B.H.R.W. from t h e b r id g e .

In t h e te c h n iq u e o f bowing in g e n e r a l , and in t h e

e x e c u tio n o f mixed bowings in p a r t i c u l a r , t h e r e i s an

... e x tre m e ly im p o rta n t p r i n c i p l e which t h e s t u d e n t sh o u ld

u n d e rs ta n d . T hat p r i n c i p l e i s : in g e n e r a l , t h e s lo w e r

th e bow sp ee d , t h e c l o s e r th e sounding p o in t must be to

th e b r id g e i f c o n s i s t e n t volume i s to be a ch ie v e d th ro u g h o u t
52
any given p a ssa g e . To ex em p lify t h i s p r i n c i p l e , th e

d e t a i l e d p r e s c r i p t i o n s f o r changing sounding p o in ts in a )

o f S tep 2 (a b o v e ), a r e g iv e n . I n i t i a l l y th e s tu d e n t w i l l

f i n d th e use o f a m i r r o r h e lp f u l in p r a c t i c i n g t o a c h ie v e

th e c o r r e c t sounding p o in t w ith any given bow speed.

U ltim a te ly , however, th e s t u d e n t sho uld use t h e e a r in

d e te rm in in g th e c o r r e c t sounding p o i n t t o use w ith any given

bow sp eed.

b) The e n t i r e stu d y sh o u ld be p r a c t i c e d u sing d e ta c h e on

s e p a r a t e l y bowed n o te s and le g a t o on s l u r s . Using a tempo

o f M.M. 52 t o th e q u a r t e r n o te p u l s e , th e fo llo w in g

p r e s c r i p t i o n s sh o u ld be o b se rv e d :

b -1 ) An " o u t" motion o f t h e bow arm i s used a t th e

c o n c lu s io n o f s e p a r a t e l y bowed n o te s on down-bow

s t r o k e s which preced e a s l u r . This a c t i o n w i l l change

^ F le s c h , The A rt o f V io lin P laying, v o l. 1, p. 81.

 38
52
th e sounding p o in t to a l o c a t i o n c l o s e r t o t h e b r id g e .

b -2 ) An "in" m o tio n ;o f the:bow arm i s used a t th e c o n c lu s io n

o f s e p a r a t e l y bowed n o te s on up-bow s t r o k e s which

53
precede a s l u r . This a c ti o n w ill move t h e sounding

p o in t tow ard th e b r id g e .

P r a c t i c e Program
for
Study No. 4

P r a c t i c e O b je ctiv e

The development o f p r o f i c i e n c y in t h e e x e c u tio n o f mixed bowing

p a t t e r n s which o c c u r in com bination w ith c r o s s in g n o n -a d ja c e n t s t r i n g s .

Procedure

S tep 1: For a p e rio d o f f o u r d a y s , t h i s s tu d y sh o u ld be p r a c t i c e d a t a

p u lse o f M.M. 76 to th e s i x t e e n t h n o te . The e n t i r e upper h a l f o f th e

bow sh ou ld be used f o r each s tr o k e .

a) All n o te s ta k en on s e p a r a t e s tr o k e s sh o u ld be e x ec u te d w ith

m a r te le bowing a t a sounding p o i n t o f 2 . 5 . B.H.R.W. from th e

b r id g e .

b) All s l u r s o f two n o te s sh o u ld be e x ec u te d a t a sounding

p o in t o f 1 B.H.R.W. from th e b r id g e .

c) All s l u r s o f t h r e e n o te s sh o u ld be e x e c u te d a t a sounding

p o i n t o f 1 .5 B.H.R.W. from th e b r id g e .

d) When c r o s s in g s t r i n g s between a s e p a r a t e l y bowed n o te and

52The terms " o u t" and " in " a r e d e fin e d in th e G l o s s a r y . o f t h i s

t e x t and a r e d e s c r ib e d in Appendix E. These term s a r e taken from Galamian,
P r i n c i p l e s o f V io lin P lay in g and T eachin g , p. 112.
 39

a s l u r , th e s t u d e n t sho uld :

d-1 ) conclude th e m a rte le s t r o k e b e fo re i n i t i a t i n g s t r i n g

c r o s s in g motion.

d -2) use hand motion f o r a d j a c e n t s t r i n g c r o s s in g and whole

54
arm in c r o s s in g more th a n one s t r i n g .

e) The bow arm should be moved o u t a t th e c o n c lu s io n o f

s e p a r a t e l y bowed n o te s on down-bow which p recede a s l u r .

f) The bow arm sh o u ld be moved in a t t h e c o n c lu s io n o f

55
s e p a r a t e l y bowed n o te s on up-bow which precede a s l u r .

S tep 2: For a p e r io d o f f o u r d a y s, th e stu d y sho uld be p r a c t i c e d a t

M.M. 76 to th e e ig h th n o te p u ls e . The e n t i r e upper h a l f o f t h e bow

sh o u ld be used f o r each s t r o k e .

a) All n o te s ta k en on s e p a r a t e s tr o k e s sh o u ld be e x e c u te d w ith

d e ta c h e bowing a t a sounding p o i n t o f 2 .5 B.H.R.W. from th e

b rid g e .

b) All s l u r s o f two n o te s a re e x e c u te d a t 2 B.H.R.W. from th e

b rid g e .

c) S lu r s o f t h r e e n o te s a r e e x e c u te d a t 2 B.H.R.W. from th e

b r id g e .
cc
d) P r e s c r i p t i o n s re g a rd in g d i r e c t i o n a s s p e c i f i e d in e)

and f ) o f S tep 1 {given a b o v e ), sho uld be fo llow ed .

S te p 3: The e n t i r e s tu d y should be p r a c t i c e d in segm ents, b u i l d i n g f o r

54
P ardee, Estherwood M a s te r c la s s .
55
Galamian, P r i n c i p l e s o f V io lin P la y in g and T each ing , p. 112.
56
The term ’’d i r e c t i o n " r e f e r s t o th e "in " motions and " o u t"
motions o f th e r i g h t arm, used in making sounding p o in t c h ang es. These
terms a r e used th ro u g h o u t t h i s . t e x t and a re taken from G alam iian ,P rin c ip le s
o f V io lin P la y in g and Teaching, p. 112.
 40

c o n t i n u i t y a t M.M. 116 to t h e e ig h th n o te p u l s e . The e n t i r e stu d y

sh ou ld be e x e c u te d a c c u r a t e l y a t t h i s tempo f o r fo u r c o n s e c u tiv e days.

Steps 1 and 2 should be com pleted b e fo re p r a c t i c i n g S te p 3.

P r a c t i c e Program
fo r
Study' No. 6

P r a c t i c e O b je c tiv e s

Development o f f a c i l i t y in th e e x e c u tio n o f mixed bowing p a t t e r n s

w ith v a rio u s com binations o f o n - t h e - s t r o n g and o f f - t h e - s t r i n g bow s t r o k e s .

Procedure

The p ro c e d u res in t h e fo llo w in g s t e p s sh o u ld be a p p lie d in

s u c c e s s io n f o r a p e r io d o f f o u r days e ach .

S tep 1: The s tu d y sh o u ld be p r a c t i c e d , u sin g m a r te le s t r o k e s on

s e p a r a t e l y bowed n o te s and le g a t o bowing on a l l s l u r s . The upper

h a l f o f t h e bow sh o u ld be used on a l l n o te s — on s l u r s as w ell as on

s e p a r a t e l y bowed n o t e s . In p r a c t i c i n g a c c o rd in g to t h e pro cedu re in

Step 1, a p u ls e o f M.M. 100 t o each n o te s h o u ld be u sed . The fo llo w in g

p r i n c i p l e s sh o uld be o b se rv e d :

a) The sounding p o i n t f o r s l u r s sh o u ld be r e l a t i v e l y c l o s e r

to t h e b rid g e than sounding p o i n t f o r s e p a r a t e l y bowed

n o te s (See Appendix E). The d e c is io n as t o how c lo s e

to t h e b r id g e any given sounding p o i n t sho uld b e , must

be based on judgem ents made by th e e a r . The c o r r e c t

s e l e c t i o n o f sounding p o i n t s chosen f o r s l u r r e d and

s e p a r a t e l y bowed n o te s w i l l r e s u l t in th e achievem ent

o f equal volume in th e e x e c u tio n o f a l l n o t e s .

 b) The bow arm s h o u ld move o u t a t th e c o n c lu s io n o f s e p a r a t e l y

bowed n o te s on a down-bow s t r o k e which precede a s l u r . This

motion w i l l r e s u l t in a t t a i n i n g a sounding p o in t c l o s e r to

th e b rid g e f o r t h e s l u r th a n f o r th e p re c e d in g s e p a r a t e l y
57
bowed n o te .

c) The bow arm sh o u ld move in a t th e c o n c lu s io n o f s e p a r a t e l y

58
bowed n o te s on an up-bow s t r o k e which precede a s l u r .

Step 2: The s tu d y sh o u ld be p r a c t i c e d using d e ta c h e s tr o k e s on s e p a r a t e l y

bowed n o te s and l e g a t o bowing on s l u r s . In t h i s s t e p , a tempo o f M.M. 66

to t h e e ig h th no te p u ls e s h o u ld be u sed .

a) The e n t i r e upper h a l f o f t h e bow s h o u ld be used t o e x e c u te

each s t r o k e —s e p a r a t e l y bowed n o te s and s l u r s .

b) P r e s c r i p t i o n s given in S te p 1 sh o u ld be a p p lie d f o r

e x e c u tio n o f t h e p ro p e r m otions o f th e bow arm used in

changing th e sounding p o i n t .

Step 3: The s tu d y sh o u ld be p r a c t i c e d in s p i c c a t o bowing, e x e c u tin g each

n o te w ith a s e p a r a t e s t r o k e . At a tempo o f M.M. 60 t o t h e p u l s e , th e

e n t i r e s tu d y sh o u ld be p r a c t i c e d a t two n o te s p e r p u ls e . In a d d i t i o n ,

th e e n t i r e stu d y sh ou ld be p r a c t i c e d a t each o f th e fo llo w in g tempos:

59
th r e e n o te s t o t h e p u l s e , f o u r and f i n a l l y , a t s i x n o te s t o t h e p u ls e .

In p r a c t i c i n g t h i s s t e p , th e fo llo w in g p r i n c i p l e s sh o uld be a p p lie d :

a) The s t i c k o f t h e bow s h o u ld be h e ld d i r e c t l y o v e r th e h a i r

(as opposed t o t i l t i n g t h e s t i c k tow ard o r away from th e

57
P ard ee, Estherwood M a s te r c la s s .
 42

b rid g e ). This w ill f a c i l i t a t e ta k in g maximum advantage

fin
o f th e s t i c k ' s i n h e r e n t s p r in g in g a c t i o n . .

b ). The bow sh ou ld be thrown onto> th e s t r i n g from a s t a t i o n a r y

o ff - th e - s trin g p o sitio n . The p o in t o f c o n t a c t between th e

bow and s t r i n g w i l l be made a t a p o i n t s l i g h t l y below th e

Cl
m iddle o f th e bow.

c) Each s p ic c a to s t r o k e sh ou ld be i n i t i a t e d by th e forearm .

The f i n g e r s and w r i s t sho uld remain f l e x i b l e in th e e x e c u tio n

o f each s t r o k e . The f i n g e r s must be extend ed downward from

t h e b ase knuckle j o i n t s on down-bow s t r o k e s . The f i n g e r s

a r e l i f t e d from th e .k n u c k l e s on up-bow s t r o k e s . The r i g h t

hand sh o u ld bend from th e w r i s t in th e same d i r e c t i o n a s th e

6?
s tr o k e c o n c u r r e n t ly w ith t h e forearm a c t i o n .

d) A motion o f th e whole arm must be used to e x e c u te a l l s t r i n g

63
c r o s s in g s in s p ic c a to bowing.

S tep 4: The s tu d y sh ou ld be p r a c t i c e d u sin g s p i c c a t o bowing on s e p a r a t e l y

bowed n o te s and le g a t o bowing on s l u r s . This s t e p sh ou ld be ex ec u te d

a t a tempo o f M.M. 69 t o t h e e i g h t h n o te p u ls e .

a) The c o r r e c t movements o f t h e bow arm must be e x ec u te d t o

o b ta in th e r e q u ir e d sounding p o i n t ch ang es.

b) The p r i n c i p l e s o f e x e c u tin g s p ic c a to bowing given f o r

S tep 3 (above) sho u ld be a p p lie d .

60F le s c h , The A rt o f V io lin P l a y in g , v o l. I , p. 74.

fil
Thomas Moore, " C ru cial D iff e re n c e s in th e Execution o f S p ic c a to :
and S a u t i l l e Bowing S t r o k e s , 11 American S t r i n g Teacher 33 (S p rin g 1983): 10.
62
Galamian, P rin c ip le s .o f V io lin Playing and Teaching, p. 76.
 43

c) When c o n clu din g a s p i c c a t o s t r o k e p re c ed in g a s l u r , th e bow

should be p la c e d on t h e s t r i n g b e fo re e x e c u tin g t h e s l u r .

The bow must n o t be thrown on t h e s t r i n g t o i n i t i a t e s l u r r e d

stro k e s.

Step 5: The s tu d y should be p r a c t i c e d , u s in g s p i c c a t o on s e p a r a t e l y

bowed n o te s and s l u r r e d s p i c c a t o o r s a lt a n d o bowing on n o te s which a r e

i n d i c a t e d as s l u r r e d . As a r e s u l t , a l l n o te s w ill b e 'e x e c u te d w ith a

bounced s t r o k e —w hether o r n o t th e y a r e i n d i c a t e d a s s l u r r e d o r s e p a r a t e l y

bowed.

a) P rop er d i r e c t i o n sh ou ld be used in a t t a i n i n g th e sounding

C.A f
p o in t f o r each s t r o k e .

b) P r i n c i p l e s o f s p i c c a t o bowing p r e s c r i b e d f o r Step 3 should

be used in p r a c t i c i n g t h i s s t e p .

P r a c t i c e Program
fo r .
Study H o . 7

P r a c t i c e O b je c tiv e s

The development o f f l u e n t e x e c u tio n o f mixed bowings which a re

combined w ith t h e c o n s t a n t l y r e p e a te d c r o s s in g o f s t r i n g s .

Procedure

The s te p s o f t h i s pro cedu re sh o u ld be p r a c t i c e d in s u c c e s s io n f o r a

p e rio d o f f i v e days e ac h .

Step 1: The s tu d y sho uld be p r a c t i c e d a t a tempo o f M.M. 100 t o th e

s ix te e n th n o te. M artele s t r o k e s sh o u ld be used in e x e c u tin g a l l n o te s

6^The term " d i r e c t i o n " r e f e r s t o th e in o r o u t motion o f t h e arm

used in changing th e sounding p o i n t . This term i s t o make th e n e c e s s a ry
sounding p o i n t changes and i s borrowed from Galamian, P r i n c i p l e s o f
V io lin P la y in g and T eaching , p. 112.
I n d i c a t e d as s e p a r a t e l y bowed. A ll n o te s I n d i c a t e d a s . s l u r r e d sh o u ld

be e x e c u te d 1n le g a t o bowing. The e n t i r e u p p er h a l f o f t h e bow sh o u ld

be used f o r a l l s t r o k e s — s e p a r a t e o r s l u r r e d . In t h e p r a c t i c e o f S te p

1, th e s t u d e n t sh o u ld :

a) Use p ro p e r d i r e c t i o n 1n.movements o f t h e bow arm t o

65
a c h ie v e th e c o r r e c t sounding p o i n t 1n a l l s t r o k e s .

b) Use h e a v i e r p r e s s u r e o f th e bow 1n t h e e x e c u tio n o f s l u r r e d

n o te s th a n 1n t h e e x e c u tio n o f s e p a r a t e n o t e s .

In S te p 1 a s e p a r a t i o n o f t e c h n i c a l problems 1s sometimes h e l p f u l . Due

t o th e c o m p le x ity o f combining t h e numerous s t r i n g c r o s s i n g s w ith t h e '

"1n" and " o u t" motions®** needed t o change sounding p o i n t s , th e bowing

a c t i o n may be s e p a r a te d from th e a c t i o n o f th e l e f t hand. T h is p ro c e d u re

I s e x e m p lif ie d 1n F ig u re 10,®^ below , and may be used In any passage

which p r e s e n t s d i f f i c u l t y .

F ig ure 10 — Dont, Twenty-Four S t u d i e s , Opus 37* Study No. 7* m e a s u r e .! .

V ivace
measure 1,
as w ritte n :

S '

measure 1,
e x e c u tio n :

65
See Appendix E.

®6 Ib1d.
67
Dbnt, Twenty-Four S tudies, Opus 37, .p. ,9.
 45

P r a c t i c i n g , a c c o rd in g t o p ro cedu re given above, w i l l a llo w

th e s t u d e n t t o c o n c e n t r a t e e x c l u s i v e l y on th e proced ures

o f s t r i n g c r o s s in g and changes o f sounding p o in t w ith o u t th e

68
s im u lta n eo u s co n ce rn s o f a c h ie v in g c o r r e c t i n t o n a t i o n .

d) D i f f e r e n t i a t i o n must be made in te c h n iq u e s used t o c r o s s

strin g s. The s tu d e n t sho uld:

d -1) Use a hand motion from th e w r i s t f o r a d j a c e n t s t r i n g

cro ssin g s.

d -2 ) Use a motion o f t h e e n t i r e arm i n c r o s s in g t o any

o t h e r th a n an a d ja c e n t s t r i n g . 69

e) In Step 1, m a r te le s tr o k e s a r e used on n o te s i n d i c a t e d to

be bowed on s e p a r a t e s t r o k e s . The bow sh o u ld come t o a

complete s to p b e f o r e making any s t r i n g c r o s s in g .

S tep 2: The s tu d y sh ou ld be p r a c t i c e d a t a tempo o f M.M. 54 t o th e

q u a r t e r n o te p u ls e . S e p a r a te ly bowed n o te s sh o u ld be e x e c u te d w ith

d e ta c h e s t r o k e s and a l l s l u r s in l e g a t o bowing. A ll p r i n c i p l e s in

Step 1c o n c e rn in g sounding p o in t change and th e use o f bow speed and

p r e s s u r e sh o u ld be a p p lie d .

Step 3: The s tu d y sh ou ld be p r a c t i c e d a t a tempo o f M.M. 80 t o th e

q u a r t e r n o te p u ls e . Detache bowing s h o u ld be used f o r s e p a r a t e l y bowed

n o te s and le g a t o sh o u ld bemused f o r s l u r s . Two measure segments sho uld

be p r a c t i c e d , b u i l d i n g b e a t by b e a t u n t i l th e e n t i r e segment can be

perform ed a c c u r a t e l y a t t h e given tempo. S u c c essiv e two measure segments

should be p r a c t i c e d in t h i s manner u n t i l t h e e n t i r e s tu d y can be perform ed

a cc u ra te ly .

6®The p r i n c i p l e o f s e p a r a t i o n o f t e c h n i c a l problems i s ta k en from

G e rle , The A rt o f P r a c t i s i n g th e V i o l i n , p. 17.
fiQ
Flesch, The A rt o f V io lin Playing, vo l. 1, p. 62.
 46

Practice Program
fo r
Study No. 10

P r a c t i c e O b je c tiv e s

The development o f p r o f i c i e n c y in t h e e x e c u tio n o f mixed bowing

which o c cu r in com bination w ith numerous s t r i n g c r o s s i n g s .

Procedure

The s t u d e n t sh o u ld p r a c t i c e each o f t h e fo llo w in g s t e p s in

s u c c e s s io n f o r a p e r io d o f f o u r days e ach .

S tep 1: The stu d y sh ou ld be p r a c t i c e d a t a tempo o f M.M. 72 t o th e

s i x t e e n t h n o te pulse.* A ll n o te s i n d i c a t e d t o be played on s e p a r a te

s t r o k e s sh ou ld be e x e c u te d in m a r te le and a l l s l u r r e d n o te s e x ecu ted

as le g ato . The e n t i r e upper h a l f o f th e bow should be used f o r a l l

s t r o k e s — s l u r r e d as w e ll a s s e p a r a t e l y bowed n o t e s . The s t u d e n t sh o u ld :

a) Use p ro p e r d i r e c t i o n o f th e arm in a c h ie v in g t h e n e c e s s a ry

changes o f sounding p o i n t . ^

b) Use r e l a t i v e l y h e a v ie r bow p r e s s u r e in th e e x e c u tio n o f s l u r s

than in t h e e x e c u tio n o f s e p a r a t e l y bowed n o te s .

c) Use th e e n t i r e arm to c r o s s more th a n one s t r i n g . Use o n ly

t h e r a i s i n g o r low erin g o f th e hand from t h e w r i s t to c r o s s

71
a d ja c e n t s t r i n g s .

d) Come t o a com plete s to p a t th e c o n c lu s io n o f m a r te le s t r o k e s

b e fo re s t r i n g c r o s s in g s a r e e x e c u te d .

e) P r a c t i c e t h e measure ( o r b e a t ) which p r e s e n ts d i f f i c u l t y in

d e t a c h l bowing r a t h e r th an in th e mixed bowings i n d i c a t e d .

^ F o r a complete e x p la n a tio n o f t h i s p ro c e d u re , t h e s t u d e n t should

r e f e r t o Appendix E.

^ F l e s c h , The A rt o f V io lin P la y in g , v o l. 1, p. 62.

 47
T his p r o c e s s w i l l a llo w com plete c o n c e n t r a t i o n on th e

problem s o f th e l e f t h a n d .7^ Each n o te sh o u ld be e x e c u te d

w ith t h e p re c e d in g o r fo llo w in g n o t e , when any g iven p a i r

73
o f n o te s o c c u rs on a d j a c e n t s t r i n g s ( s e e F ig u re 11, below ).

F ig u re 11 — Dont, Twenty-Four S t u d i e s , Optis 37, S tud y No. 10, measure 21.

as w ritte n :

cresc.

j r' (Xu

The p r a c t i c e method I l l u s t r a t e d In F ig u re 11 w i l l e n a b le th e

s t u d e n t t o d e t e c t t h e s m a l l e s t I n d i s c r e t i o n 1n I n t o n a t i o n . Once th e

f a u l t y p i t c h I s I d e n t i f i e d , c o r r e c t i o n can be made.

S te p 2 : Using t h e p r i n c i p l e s g iven In S te p 1 , th e s tu d y s h o u ld be

p r a c t i c e d u sin g d e ta c h e on s e p a r a t e l y bowed n o te s and l e g a t o on s l u r s .

At a tempo o f M.M. 56 t o t h e q u a r t e r n o te p u l s e , t h e s tu d y s h o u ld be

b u i l t 1n two measure segments f o r c o n t i n u i t y . The e n t i r e s tu d y sh o u ld

th e n be perform ed.

S te p 3: The s tu d y s h o u ld be p r a c t i c e d a t M.M. 69 t o t h e q u a r t e r n o te

p u l s e , u s in g t h e p ro c e d u re 1n Step 2 .

7^ G e rle , The A rt o f P r a c t i s i n g t h e V io l i n , p. 17.

73Dont, Twenty-Four S t u d i e s , Opus 37 , p . 13.

 48

Practice Program
fo r
Study No. 14

P r a c t i c e O b je c tiv e

The development o f p r o f i c i e n c y 1n th e e x e c u tio n o f mixed bowings

combined w ith a r p e g g l a t e d n o te p a t t e r n s .

Procedure

Each o f t h e s t e p s In t h i s p ro c e d u re sho uld be p r a c t i c e d f o r

f o u r days 1n s u c c e s s io n .

S tep 1: The s tu d y sh o u ld be p r a c t i c e d a t M.M. 60 t o th e s i x t e e n t h n o te

u sin g s e p a r a t e bow s t r o k e s on each n o t e . Detache bowing sh o u ld be used

in t h e upper t h r e e q u a r t e r s o f th e bow f o r each n o te . The s t u d e n t sh o uld :

a) S u s ta in th e to n e w e l l , u s in g even bow speed and p r e s s u r e

on each n o te .

b) Perform c o n s e c u tiv e p a i r s o f s i x t e e n t h n o te s a s double s to p s

74 75
when th e y o c c u r on a d j a c e n t s t r i n g s . See F ig u re 12,

below.

F ig ure 12 — Dont, Twenty-Four S t u d i e s , Opus 37, Study No. 14, measure 1.

as w r itte n :

e x e c u tio n :

^ G e r l e , The A rt o f P r a c t i s i n g t h e V i o l i n , p. 17.

75I b i d . , p. 20.
 49

Step 2: The s t u d e n t sh ou ld p r a c t i c e t h e stu d y a s w r i t t e n , w ith th e

in d i c a t e d bowing. Notes which a re t o be bowed s e p a r a t e l y sh o u ld be

exec u te d a s m a r te le s tr o k e s and a l l s l u r s in le g a t o . The complete

upper h a l f o f th e bow sho uld be used f o r a l l s t r o k e s —s l u r r e d s t r o k e s

as w ell as s e p a r a t e l y bowed n o t e s . In p r a c t i c i n g t h e p ro c e d u res o f

S te p 2 , a tempo o f M.M. 100 t o t h e s i x t e e n t h n o te v a lu e sh o uld be used.

The fo llo w in g d i r e c t i o n s sh o u ld be o b served in th e e x e c u tio n o f t h i s s t e p .

a) In any two c o n s e c u tiv e groups o f s l u r r e d n o t e s , t h e bow

sh o u ld come t o a com plete s to p a t t h e c o n c lu s io n o f th e

f i n a l n o te o f th e f i r s t s l u r . When a s t r i n g c r o s s in g i s

r e q u ir e d in p ro c e ed in g from th e f i n a l n o te o f th e f i r s t s l u r

t o th e i n i t i a l n o te o f t h e second s l u r , t h e bow sh o u ld s to p
7fi
b e fo re t h e s t r i n g c r o s s in g i s made.

b) P ro p er d i r e c t i o n in arm movements should be used t o a ch iev e

r e q u ir e d sounding p o in t changes. '

c) H eavier bow p r e s s u r e must be used on s l u r s than on s e p a r a t e l y

bowed n o te s .

Step 3: The s tu d y sho uld be p r a c t i c e d a t a tempo o f M.M. 60 t o th e

q u a r t e r n o te p u ls e . Detache sh o u ld be used on n o te s which a re i n d i c a t e d

to be s e p a r a t e l y bowed and l e g a t o used on n o te s which a r e i n d i c a t e d as

slu rre d . The e n t i r e upper h a l f o f t h e bow sho uld be used f o r a l l s t r o k e s .

The s t u d e n t s h o u ld :

a) Use p ro p e r d i r e c t i o n o f arm movements to a c h ie v e r e q u ir e d

sounding p o i n t c h a n g e s .7®

7®Pardee, Estherwood M a s te r c la s s .

77See Appendix E.
 50

b) Use h e a v ie r bow p r e s s u r e on s l u r s than on n o te s ta k en w ith

sep a ra te s tro k e s .

c) P r a c t i c e th e s tu d y in two measure segments t o a ch iev e

c o n t i n u i t y o f p erform an ce; b u ild in g b e a t by b e a t i f

n e c e s s a r y t o a ch ie v e f l u e n t e x e c u tio n o f t h e e n t i r e

segment.

P r a c t i c e Program
for
Study No. 15

P r a c t i c e O b je c tiv e s

The f l u e n t e x e c u tio n o f mixed bowings and c o n s e c u tiv e s l u r s in

a rp e g g io s .

Procedure

Both o f th e s t e p s o f t h i s pro cedu re sh o u ld be a p p l i e d in s u c c e ss io n

f o r a p e r io d o f f o u r days e ac h .

Step 1: M artele s tr o k e s sh o u ld be used in e x e c u tin g n o te s i n d i c a t e d t o

be bowed s e p a r a t e l y . Legato s h o u ld be used on s l u r s . The tempo should

be M.M. 72 t o t h e e ig h th n o te v a lu e .

a) A ll t r i l l s which p r e s e n t d i f f i c u l t y o f e x e c u tio n s h o u ld be

i d e n t i f i e d and p r a c t i c e d acc o rd in g to t h e p ro c e d u res given

in Appendix D.

b) F u ll bow s t r o k e s sh ou ld be used on each group o f s l u r r e d

n o te s in measures which c o n ta in a s l u r o f f i v e n o te s follow ed

by a s l u r o f seven n o t e s .

c) In g e n e r a l , th e upper h a l f o f th e bow sh o u ld be used f o r

s l u r s o f two n o te s and s e p a r a t e l y bowed n o t e s . Exception

w i l l be made in c a s e s such a s in g ) , below.

d) P ro per d i r e c t i o n o f th e movements o f t h e bow arm i s r e q u ir e d
79
in a c h ie v in g t h e sounding p o i n t changes.

e) When a s t r i n g c r o s s in g i s r e q u ir e d in p ro ceed in g from one

s l u r t o a n o t h e r , t h e bow sho uld be sto p p ed p r i o r t o th e

e x e c u tio n o f t h e s t r i n g c r o s s in g .

f) H e av ie r bow p r e s s u r e sh o u ld be used in th e e x e c u tio n o f

s l u r s th a n in e x e c u tin g s e p a r a t e l y bowed n o t e s . The lo n g e r

th e d u r a tio n o f t h e s l u r , th e h e a v i e r th e bow p r e s s u r e w ill

need t o be.

g) C e r ta in measures p r e s e n t problems in bow d i s t r i b u t i o n . In

th e example in F ig u re 13, below, t h e f i r s t t h r e e n o te s o f

measure 2 a r e e x e c u te d w ith a f u l l bow s t r o k e . I f c o n sid e re d

o u t o f c o n t e x t , t h e re m a in d er o f t h e n o te s o f measure 2

co u ld most e f f i c i e n t l y be e x e c u te d in t h e upper h a l f o f th e

bow. However, i f t h e upper h a l f o f t h e bow i s used f o r th e

l a s t n o te (g^) o f measure 2 , th e s tr o k e i s te rm in a te d a t

th e m iddle o f t h e bow. S ince t h e fo llo w in g s t r o k e i s most

e f f i c i e n t l y e x e c u te d w ith a f u l l bow s t r o k e , th e bow

d i s t r i b u t i o n in measure 2 (a s given above) i s re n d e re d

in a d e q u a te . The s o l u t i o n t o t h i s problem i s a method o f bow

81
d i s t r i b u t i o n c a l l e d d is p la c e m e n t. To a p ply th e te c h n iq u e

o f d is p la c e m e n t in t h i s example (s e e F ig ure 1 3 - b ) , more bow

sh o u ld be used on up-bow s t r o k e s than on down-bow s t r o k e s .

T his te c h n iq u e i s used in th e l a s t two b e a ts o f measure 2.

79
See Appendix E.
80
Dont, Twenty-Four Studies, Opus 37, p. 22.
81
See Glossary.
 52

In u s in g t h i s p ro c e d u re , t h e s e c t i o n o f t h e bow in which

th e s t r o k e s a r e made I s g r a d u a lly s h i f t e d t o t h e low er h a l f

o f th e bow. The r e s u l t o f t h i s p ro c e ss I s t h a t t h e f i n a l

n o te o f measure two (a g I s te r m in a te d a t th e f r o g o f th e

bow.

The bow 1s now 1n th e c o r r e c t p o s i t i o n to e x e c u te th e

82
r e q u ir e d f u l l bow s t r o k e a t th e b e g in n in g o f measure t h r e e .

F ig u re 13 - Dont, Twenty-Four S t u d i e s , Opus 37, Study No. 15, m easures

2 and 3.

UH.B. problem o c c u rs h e re

a) E xecution u sin g
c o n v e n tio n a l bow
d istrib u tio n

b) E xecution u s in g
d is p la c e m e n t

W.B.
L j
D isplacem ent o c c u rs h ere

S tep 2: Detache sh o u ld be used on s e p a r a t e l y bowed n o te s and l e g a t o on

s l u r s , a t M.M. 72 t o t h e q u a r t e r n o te p u ls e . The s t u d e n t s h o u ld p r a c t i c e

b u i l d i n g t h e s tu d y In two measure segm ents. The s t u d e n t s h o u ld a p p ly a l l

p r i n c i p l e s given in S te p 1 , w ith one e x c e p tio n : th e bow i s n o t sto p p ed

between c o n s e c u tiv e s l u r s .

82
P a rd e e , Estherwood M a s te r c la s s .
 Practice Program
fo r
StudyTo. 20

P r a c t i c e O b je c tiv e

The developm ent o f p r o f i c i e n c y in th e e x e c u tio n o f mixed bowings

83
which in c lu d e l e g a t o and s a lt a n d o bowing.

Procedure

The f i r s t s t e p o f t h i s procedure i s t o be p r a c t i c e d f o r seven

c o n s e c u tiv e days.

S tep 1: The s t u d e n t sh ou ld p r a c t i c e a t a tempo o f M.M. 100 t o t h e e ig h th

n o te p u ls e . All s l u r s sh o u ld be e x e c u te d in l e g a t o and a l l s l u r s w ith

s t a c c a t o i n d i c a t i o n s in s a l t a n d o . The fo llo w in g d i r e c t i o n s sh o u ld be

observed in t h e e x e c u tio n o f t h i s s t e p .

a) All s l u r s o f e i g h t n o te s sh o u ld be e x e c u te d w ith t h e p o r ti o n

o f t h e bow b eg in n in g a t t h e fro g and co n clud in g a t two in c h es

above th e m iddle. The sounding p o i n t w i l l be . 5 - B.H.R.W.

from t h e b r id g e .

b) All s l u r s o f two n o te s sh ou ld be e x e c u te d w ith a sounding

p o i n t o f 2 B.H.R.W. from t h e b r id g e .

c) A ll f o u r n o te groups sh o u ld be e x e c u te d in s a lt a n d o bowing

a t a sounding p o i n t o f 2 B.H.R.W. from th e b r i d g e . The

f o llo w in g p ro cedu re sh o u ld be a p p lie d :

c -1 ) Each s e r i e s sho uld be i n i t i a t e d a t two in c h e s above

t h e middle o f th e bow.

c -2 ) At th e b e g inn ing o f each f o u r n o te group in s a l t a n d o ,

a sudden in c r e a s e o f bow speed and bow p r e s s u r e should

83
See Glossary.
 54
t o be used t o h e lp throw t h e bow o f f th e s t r i n g .

c -3 ) In th e e x e c u tio n o f s a lt a n d o s t r o k e s , a l i f t i n g motion

sh o u ld be used o f th e r i g h t hand from t h e w r i s t and

o f t h e f i n g e r s from th e base knuckle j o i n t s . These

movements sh ou ld be combined w ith t h e motion o f th e

84
forearm in t h e d i r e c t i o n o f th e s t r o k e .

c -4 ) The bow s h o u ld be p la c e d on th e s t r i n g b e fo re i n i t i a t i n g

each s t r o k e .

c -5 ) When e x e c u tin g a group o f f o u r s a lta n d o n o t e s , t h e bow

s h o u ld be d i s t r i b u t e d e v e n ly th ro u g h o u t th e lower

h a lf.

d) S p e c ia l c o n s i d e r a t i o n must be made in th e e x e c u tio n o f

measures 17 and 18. Because o f t h e r e l a t i v e l y l a r g e number

o f n o te s t o be s l u r r e d on a s e r i e s o f up-bow s a lt a n d o s t r o k e s ,

th e bow's le n g th cann ot be used a t th e r a t e p r e s c r i b e d f o r

f o u r n o te groups o f s a l t a n d o . The te c h n iq u e used in th e s e

measures i s as f o llo w s :

d-1) All s t r o k e s in each s e r i e s a re e x e c u te d a t th e middle

o f th e bow u sin g a sounding p o i n t o f 2 B.H.R.W. from

th e b rid g e.

d-2) The h o r i z o n t a l motion o f t h e forearm i s n o t used.

d-3) The s t r o k e i s e x e c u te d by a c lock w ise c i r c u l a r motion

o f th e hand from th e w r i s t j o i n t as i t a l t e r n a t e l y

c o n ta c ts and th e n le a v e s th e s t r i n g . T his c i r c u l a r

a c tio n , o f th e hand from t h e w r i s t a llo w s t h e e n t i r e

amount o f bow expended f o r each s t r o k e t o be r e t r i e v e d .

®^Galamian, The P rin ciple s o f V io lin Playing, v o l. I , p. 76.

 55
As a r e s u l t , i t i s p o s s i b l e t o remain a t t h e middle

o f t h e bow in e x e c u tin g t h e e n t i r e s e r i e s o f s a lta n d o

s t r o k e s . 88

d -4) The f i n g e r s o f th e r i g h t hand a r e s im u lta n e o u s ly

l i f t e d upward from th e base knuckle j o i n t s a s th e bow

86
le a v e s t h e s t r i n g .

S tep 2: The s t u d e n t sh o u ld p r a c t i c e a t a tempo o f M.M. 60 t o th e d o tte d

q u a r t e r n o te . All s l u r s sho u ld be e xecuted in le g a t o . All s l u r s w ith

s t a c c a t o i n d i c a t e d sho uld be e x e c u te d in s a l t a n d o bowing.

In p r a c t i c i n g S tep 2 , a l l p ro ced u res p r e s c r i b e d f o r th e

pre c ed in g s t e p would be used w ith t h e e x c e p tio n o f th e fo llo w in g :

a) A ll le g a t o s l u r s o f e i g h t n o te s should be e x ec u te d a t a

sounding p o i n t o f 1 B.H.R.W. from th e b rid g e .

b) A sounding o f 2 B.H.R.W. from th e b rid g e sh o u ld be used

in e x e c u tin g a l l s a lt a n d o s tr o k e s and s l u r s o f two n o te s .

cj A ll s t r o k e s In S tep 2 sh o u ld be e x ec u te d in th e s e c t i o n

o f th e bow e x tend in g from two in c h es above th e middle to

t h e low er q u a r t e r .

P r a c tic e Program
fo r
Study~No. 23

P r a c t i c e O b je c tiv e
87
Development o f flu e n c y in th e e x e c u tio n o f V i o t t i bowing.

88F le s c h , The A rt o f V io lin P la y in g , v o l. 1 , p. 78.

86
Gal amian, P r i n c i p l e s o f V io lin P l a y i n g . and T e a ch in g , p. 76.

8^See G lo ssa ry .
 56

Procedure

Both s te p s o f t h i s proced ure sh o u ld be p r a c t i c e d in s u c c e ss io n

f o r a p e r io d o f f o u r days each.

Step 1: The s tu d y sh ou ld be p r a c t i c e d a t a tempo o f M.H. 56 t o th e

e ig h th n o te v a lu e . The fo llo w in g pro c e d u re should be a p p lie d .

a) The e n t i r e s tu d y i s t o be e x ec u te d in t h e upper h a l f o f th e

bow.

b) Each o f t h e p a i r s o f n o te s which a r e i n d i c a t e d as s l u r r e d

s t a c c a t o a r e t o be e x e c u te d as two c o n s e c u tiv e m a rte le

s t r o k e s bowed in th e same d i r e c t i o n .

c) The f i r s t n o te o f each p a i r i s t o be e x e c u te d w ith two in c h es

o f bow. The a c t i o n used t o e x ec u te t h e f i r s t n o te sh o u ld be

sim u lta n eo u s motion o f both t h e hand from th e w r i s t and an

e x te n s io n o r c o n t r a c t i o n o f t h e r i g h t hand f i n g e r s a t th e

knuckle j o i n t s . A ll o f th e s e motions a r e made in th e same

d i r e c t i o n as th e s t r o k e . The forearm sh o u ld n o t be used

88
in e x e c u tin g th e f i r s t n o te o f each p a i r .

d) The second n o te i s e x ec u te d w ith th e p o r ti o n o f th e upper

h a l f o f t h e bow which rem ains a f t e r t h e two in ch es o f bow

ta k en f o r t h e f i r s t n o te . A r e l a t i v e l y much l a r g e r amount

o f bow sh o u ld be used on th e second n o te than on t h e f i r s t

n o te o f each p a i r bowed in t h e same d i r e c t i o n . As a r e s u l t

th e second n o te i s much lo u d e r and sounds a c c e n te d . The

a c c e n tin g o f t h e second n o te in s u r e s t h a t rhythm ic s t r e s s

o c c u rs on th e s t r o n g b e a t o r s tro n g p a r t o f th e b e a t .

S tep 2: The s tu d y sh o u ld be p r a c t i c e d a t a tempo o f M.M. 63 t o th e

88Galamian, P rin cip le s o f V io lin Playing and Teaching, p. 76.

q u a r t e r n o te v a lu e . The s t u d e n t should p r a c t i c e f o r c o n t i n u i t y ,

b u ild in g in two measure segments u n t i l th e e n t i r e s tu d y can be performed

accu rately . All procedures p r e s c r ib e d f o r Step 1 should be a p p lie d

w ith th e e x ce p tio n o f th e fo llo w in g :

a) The s tu d e n t should e x ecu te th e n o te s w ith a le g a t o connection

between a l l s t r o k e s .

S tep 3: The stu d y should be p r a c t i c e d a t a tempo o f M.M. 112 to th e

q u a r t e r n o te v a lu e . The same procedure as s p e c i f i e d in Step 2 should

be a p p lie d .
 CHAPTER I I I

STUDIES IN MULTIPLE STOPS

P r a c t i c e Program
fo r
StudyTTo. 19

Pr a c t i c e O b je c tiv e

The development o f s k i l l in perform ing m elodic p h ra ses in

double s to p s .

Procedure

All s t e p s in t h i s p r a c t i c e program sh ou ld be a p p lie d c o n c u r r e n t ly

f o r a p e r io d o f seven d ays.

Step 1: A ll measures sh o u ld be i d e n t i f i e d in which e i g h t o r more

s i x t e e n t h n o te s o c cu r in s u c c e s s io n . These m easures sh o u ld be p r a c t i c e d

u s in g rhythm p a t t e r n s one th ro u g h e i g h t from Appendix C. P r a c t i c i n g in

rhythms a t v a rio u s speeds w i l l in s u r e th e sim u ltan eo u s a c t i o n o f both

89
f i n g e r s in v o lv e d in each double s to p .

S tep 2: A s p e c i f i c te c h n iq u e must be used when e x e c u tin g p a t t e r n s o f

decending s i x t h s . In any given c o n s e c u tiv e p a i r o f s i x t h s , th e f i n g e r

used t o e x ec u te th e low er n o te o f t h e f i r s t s i x t h i s a l s o used t o e x ec u te

90
t h e upper n o te o f th e second s i x t h (F ig u re 14, below ).

og
Gal amian, P r i n c i p l e s o f V io lin P la y in g and T e a ch in g , p. 29.
gn
Dont, Twenty-Four Studies, Opus 37, p. 19.

58
 59

Figu re 14 — Dont, Twenty-Four S t u d i e s , Opus 3 7 , Study No. 19, measure 7.

In moving th e f i n g e r a c r o s s th e s t r i n g in such c a s e s , th e f i n g e r

p r e s s u r e sh ou ld be r e la x e d s l i g h t l y . An o b liq u e s l i d i n g m otion sh o u ld

then be used t o move t o th e new l o c a t i o n . The f i n g e r sh ou ld n e v e r be

91
c o m p le te ly l i f t e d o f f t h e s t r i n g In t h i s p r o c e s s . The p r i n c i p l e

d e s c r ib e d above sh o u ld be a p p lie d in a l l p a ssa g es o f s i x t h s c o n ta in e d in

t h i s s tu d y .

S tep 3: The e n t i r e s tu d y sh o u ld be p r a c t i c e d a t a tempo o f M.M. 56 to

t h e q u a r t e r n o te v a lu e . The p r i n c i p l e s o f te c h n iq u e used i n th e e x e c u tio n

o f th e I n i t i a l p h ra s e o f Study No. 19 sh o u ld be a p p l i e d th ro u g h o u t th e

s tu d y . The p r e s c r i p t i o n s given below s h o u ld be used in e x e c u tin g th e

QO
f i r s t p h ra se (F ig u re 18, below ).

Figure 15 - - Dont, Twenty-Four S t u d i e s , Opus 3 7, Study No. 19, m easures

I and 2

A ndante

91B a r r e t t , The V io la , p. 63.

qp
Dont, Twenty-Four Studies, Opus 37, p. 30.
a) The a t t a c k o f th e f i r s t double s to p i s very im p o r ta n t. The

bow sh o u ld fo llo w a g e n t l y descen ding a r c - l i k e t r a j e c t o r y

as i t i s low ered on t o th e s t r i n g . As a r e s u l t , th e beg inn ing

o f th e f i r s t n o te w ill have a s o f t , cushioned sound. The

bow sh o u ld n o t be p la c e d on th e s t r i n g b e fo re s t a r t i n g th e

n o te .

b) The f i r s t n o te sh o u ld be begun a t t h e fro g w ith a sounding

p o in t o f 2 .5 B.H.R.W. from t h e b r i d g e . L ig h t bow p r e s s u r e

sh o u ld be a p p l i e d th ro u g h o u t th e s t r o k e w ith even and

m o d e ra tely f a s t bow speed. The s t r o k e must conclude a t th e

p o in t o f th e bow.

c) A le g a t o c o n n e c tio n sh o u ld be made between t h e f i r s t n o te

and th e s l u r r e d group o f n o te s which fo llo w s .

d) The s l u r o f two s i x t e e n t h n o te s fo llo w ed by an e ig h th

n o te sh ou ld be e x e c u te d w ith th e upp er t h i r d o f t h e bow

a t a sounding p o i n t o f 2 .5 B.H.R.W. from t h e b r id g e ,

e) The fo llo w in g s e p a r a t e l y bowed double s to p s h o u ld a l s o be

e x e c u te d in th e upper t h i r d o f t h e bow a t a sounding p o in t

o f 2 .5 B.H.R.W. from t h e b r id g e .

f) The two s l u r r e d e i g h t h n o te s o c c u r r in g on t h e l a s t b e a t o f

measure 1 s h o u ld be e x e c u te d w ith a f u l l bow s t r o k e . An

even a c c e l e r a t i o n in bow speed and i n c r e a s e in bow p r e s s u r e

must o c c u r w h ile p ro c e ed in g through t h i s s t r o k e t o a c h ie v e

t h e i n d i c a t e d c re s c e n d o . As th e f r o g i s approached, t h e

bow h a i r must move c l o s e r t o th e b r i d g e . T h is a c t i o n is

a ch ie v e d by p u l l i n g t h e hand under th e w r i s t a s th e fr o g i s

re a c h e d . At t h e c o n c lu s io n o f t h i s s tr o k e t h e sounding

p o in t sh o u ld be 1 B.H.R.W. from t h e b r id g e .
 61

g) The double s to p o c c u r rin g on th e down b e a t o f measure 2

sh ou ld be e x ec u te d a t th e sounding p o in t o f 1 B.H.R.W. from

th e b r i d g e - a t t a i n e d a t t h e c o n c lu s io n o f th e p re c ed in g s t r o k e .

h) The s t u d e n t sho uld proceed th rou gh th e d o tte d q u a r t e r n o te

a t 1 B.H.R.W. from th e b rid g e u s in g t h e low er t h r e e q u a r t e r s

o f th e bow and heavy bow p r e s s u r e .

i) As th e s t r o k e i s s l u r r e d in t o t h e e ig h th n o t e , th e bow p r e s s u r e

must be redu ced s u b s t a n t i a l l y . As a r e s u l t , th e bow h a i r

w i l l reassume a sounding p o in t o f 2 .5 H.B.R.W. from th e

b r id g e .

j) At a sounding p o in t o f 2 .5 B.H.R.W. from t h e b r i d g e , th e

s tu d e n t sho uld e x e c u te th e h a l f n o te o c c u r r in g on th e second

h a l f o f measure 2 . Moderate bow p r e s s u r e must be a p p lie d

u sin g o n ly th e u p p e r h a l f o f th e bow. Bow speed must d im in ish

th ro u g h o u t th e s t r o k e . The p h ra se i s th e re b y concluded.

P r a c t i c e Program
fo r
Study No. 22

P r a c t i c e O b je ctiv e

The f l u e n t e x e c u tio n o f double s to p s in l e g a t o bowing.

Procedure

Each o f t h e fo llo w in g s t e p s sh o u ld be p r a c t i c e d in s u c c e s s io n

f o r f i v e days each.

S tep 1: The stu d y sh o u ld be p r a c t i c e d a t a tempo o f M.M. 66 to th e

e ig h th n o te v a lu e . Each s l u r r e d group o f notesl e q u i v a l e n t t o th e v a lu e

o f one q u a r t e r n o te sh ou ld be e x ec u te d w ith t h e f u l l bow a t a sounding

p o i n t o f 2 .5 B.H.R.W. from th e b r id g e . Fu ll bow s t r o k e s s h o u ld be used

 62

in th e e x e c u tio n o f h a l f n o te s w ith a sounding p o i n t o f 1 B.H.R.W.

from th e b r id g e .

In p r a c t i c i n g th e procedure p r e s c r i b e d in Step 1, th e s tu d e n t

should observe t h e fo llo w in g p r i n c i p l e s :

a) In p roceeding from one double s to p to a n o th e r , t h e whole

arm sh o u ld be used t o e x e c u te a l l s t r i n g c r o s s i n g s .

b) An equal amount o f bow p r e s s u r e must be a p p lie d on both

93
s t r i n g s in e x e c u tin g a l l double s t o p s .

c) Firm ( n o t e x c e s s iv e ) p r e s s u r e o f th e l e f t hand f i n g e r s

sh ou ld be a p p l i e d .

d) Because t h e r e i s a p a r t i c u l a r l y pronounced tendency

toward t h e use o f e x c e s s iv e p r e s s u r e o f l e f t hand f i n g e r

a c t i o n in th e e x e c u tio n o f double s t o p s , th e s t u d e n t must

guard a g a i n s t i t . E s p e c i a l l y d e tr im e n ta l t o f l u e n t e x e c u tio n

i s th e sq u ee z in g o f th e neck o f t h e in s tru m e n t between th e

94
s id e o f th e thumb and t h e i n s i d e o f t h e index f i n g e r .

e) The f i r s t e i g h t rhy thm ic p a t t e r n s from Appendix C sh o u ld

be used t o p r a c t i c e any measure in which d i f f i c u l t y i s

e n c o u n te re d in a t t a i n i n g s im u lta n eo u s a c t i o n o f both f i n g e r s
95
in th e a r t i c u l a t i o n o f double s t o p s .

S tep 2: The s tu d y should be p r a c t i c e d a t a tempo o f M.M. 92 to t h e e ig h th

n o te p u l s e . Two measure segments sh o u ld be p r a c t i c e d , b u ild in g each

measure b e a t by b e a t f o r c o n t i n u i t y . The p ro c e d u res s p e c i f i e d i n Step 1

93
Galamian, P r i n c i p l e s o f V io lin P lay in g and T e a ch in g , p. 58.
94
Stephen Clapp, "Tension in V io lin P la y in g ," American S t r i n g
T eacher 33, (Summer 1982): 11.
95
Galamian, P rinciples o f V io lin Playing and Teaching, p. 29.
 63

sh ou ld be a p p lie d w ith one e x c e p tio n : when e x e c u tin g a h a l f n o te ( o r

a s l u r o f e q u iv a l e n t v a lu e ) a f u l l bow s tr o k e sho uld be used a t a

sounding p o i n t o f 1 .5 B.H.R.W. from th e b r id g e .

P r a c t i c e Program

S tu d /T Io . 24
P r a c t i c e O b je c tiv e

The f l u e n t e x e c u tio n o f m u l t i p l e s to p s in th e c o n te x t o f melodic

p h ra s e s .

Procedure

The s te p s o f t h i s p r a c t i c e program sh o u ld be p r a c t i c e d in

s u c c e s s io n f o r f i v e days e ach .

Step 1: The s t u d e n t sho u ld p r a c t i c e a t a tempo o f M.M. 92 t o t h e e ig h th

n ote p u l s e , using t h e fo llo w in g p ro c e d u re s:

a) In t h e e x e c u tio n o f any given t r i p l e s t o p , th e t r a j e c t o r y

o f t h e bow s t r o k e i s t h e same as t h a t o f t h e m iddle s t r i n g .

The upper two t h i r d s o f th e bow sh ou ld be used.

b) The a t t a c k o f each o f t h e n o te s in a t r i p l e s to p sho u ld be

s im u lta n e o u s . For t h i s re a s o n , a sounding p o i n t o f 3 B.H.R.W.

from t h e b rid g e sho uld be used in e x e c u tin g t r i p l e s t o p s .

The s t r i n g s a re more n e a r l y o f equal h e ig h t a t t h i s sounding

96
p o in t th a n a t sounding p o i n t s n e a r e r t o t h e b r id g e .

c) In t h e m a jo r ity o f t r i p l e s to p s in t h i s s tu d y , t h e melody

n o te o c c u rs in th e to p v o ic e . T h e r e f o r e , a f t e r th e t r i p l e

s to p i s begun, th e bottom n o te sho uld be dropped ( a f t e r

96Flesch, The A rt o f V io lin Playing, v o l. 1, p. 83.

 64

s u s t a i n i n g a l l t h r e e n o te s f o r th e approxim ate d u r a tio n o f

a s ix te e n th n o te ). In t h i s manner, th e upper n o te w ill

be p e rc e iv e d a s th e most Im p o rta n t.

d) The v o ic e le a d i n g t o m easures 25-27 c o n ta in s e x c e p tio n s to

th e r u l e given 1n c ) , above. In t h e s e m e asu re s, t h e melody

a l t e r n a t e s between t h e to p v o ic e and lo w e st v oice 1n each

97
s u c c e s s iv e b e a t ( t h e s t u d e n t sh ou ld r e f e r t o Figu re 16,

b elow ). When t h e melody n o te 1s c o n ta in e d 1n t h e lo w e st

v o i c e , th e up p e r two v o ic e s sh o u ld be dropped a f t e r b e g in n in g

the t r i p l e sto p . As a r e s u l t th e proper, v o ic e le a d in g I s

c l e a r l y p e r c e iv e d by t h e l i s t e n e r .

F ig u re 16 — Dont, Twenty-Four S t u d i e s , Opus 37, No. 24 , measures 2 5 -27 .

cresc.

e) The a t t a c k o f each t r i p l e s to p s h o u ld be p reced ed by a

c i r c u l a r motion o f th e whole arm. In t h i s way, th e bow 1s

a l r e a d y 1n m otion b e f o r e t h e bow h a i r c o n t a c t s t h e s t r i n g .

f) When a s e r i e s o f t r i p l e s to p s 1s e x e c u te d w ith c o n se c u tiv e

down-bow s t r o k e s , each n o te s h o u ld be te rm in a te d a s i x t e e n t h

n o te v a lu e e a r l i e r than i s i n d i c a t e d . This a c t i o n w i l l

a llo w th e r e t a k i n g o f t h e bow t o th e fro g to p re p a re

97
Dont, Twenty-Four S tudies, Opus 37, p. 35.
 65
f o r th e fo llo w in g s t r o k e ,

g) Execute a l l s i x t e e n t h . n o t e s i n d i c a t e d a s s l u r r e d w ith

s t a c c a t o markings in s l u r r e d s p ic c a to o r s a lt a n d o bowing.

Step 2: Applying t h e same p ro c e d u res used in S tep 1 , th e s tu d y should

be p r a c t i c e d a t a tempo o f M.M. 120 t o th e e ig h th n o te p u ls e . The

s t u d e n t should b u ild f o r c o n t i n u i t y , p r a c t i c i n g each p hrase in one

measure segm ents. F i n a l l y , t h e s tu d y should be performed a t M.M. 120 t o

t h e e ig h th n ote p u ls e .
 SUMMARY

T h is manual i s de sig n e d t o a s s i s t t h e s t u d e n t in le a r n in g how

t o p r a c t i c e u sin g th e Twenty-Four S t u d i e s , Opus 37, o f Jacob Dont.

Contemporary v i o l i n pedagogy i s founded a lm o st e x c l u s i v e l y on

t h e p r i n c i p l e s e x e m p lifie d by th e t e a c h e r s a t t h e C o n s e rv a to rie s o f

Liege and B ru s s e ls in Belgium and a t t h e P a r is C o n se rv a to ry . The

common p h ilo s o p h ie s h e ld by th e em inent t e a c h e r s o f th e s e i n s t i t u t i o n s

produced such prom inent t w e n t i e t h - c e n t u r y pedagogues as Carl F lesch

and Ivan Gal amian. The t r e a t i s e s o f F le s c h and Galamian a r e g e n e r a lly

c o n s id e re d a s d e f i n i t i v e in th e d i s c i p l i n e o f v i o l i n pedagogy. These

t r e a t i s e s w ere used as p r i n c i p a l s o u rc e s in w r i t i n g t h i s manual. The

o t h e r s o u rc e s used t o p re p a re t h i s t e x t were w r i t t e n by pedagogues whose

te a c h in g i s p r i m a r i l y based on th e t r a d i t i o n s o f th e French s c h o o l. The

u se o f s o u r c e s , which co n cu r w ith th e p r e c e p ts o f pedagogy in th e French

t r a d i t i o n , r e s u l t s in c o n s is te n c y o f t h e p r i n c i p l e s upon which t h i s

work i s b ased .

Ivan Galamian p r e s c r i b e d " b u ild in g tim e" and "perform ance tim e"

as e s s e n t i a l components o f e f f e c t i v e p r a c t i c e . ^ These components a r e

in c o r p o r a te d in p r a c t i c e programs th ro u g h o u t t h i s s tu d y g u id e . B u ild in g

tim e in v o lv e s s e v e ra l s t e p s . F i r s t , t h e s t u d e n t must i s o l a t e p a ssa g es

which p r e s e n t d i f f i c u l t y . T e ch nical problems must th en be i d e n t i f i e d .

Once problems have been i d e n t i f i e d , th e s t u d e n t must a p p ly s p e c i f i c

^Galamian, P r i n c i p l e s o f V io lin P lay in g and T each in g , p. 95.

66
 67

p roced ures which a r e d e sign ed t o so lv e th e problems. "Performance

time" i s th e phase o f p r a c t i c i n g which in v o lv e s p r a c t i c i n g f o r c o n t i n u i t y .

In t h i s p h a se , th e s t u d e n t must b u i l d t h e s tu d y in segm ents, e x e c u tin g

p r o g r e s s i v e l y lo n g e r s e c t i o n s . Through t h i s p r o c e s s , th e s t u d e n t sh o u ld

f i n a l l y be a b le t o e x ec u te th e e n t i r e s tu d y a c c u r a t e l y and w ith o u t

in te rru p tio n .2

T his manual i s th e f i r s t , t o th e knowledge o f th e a u t h o r , which

in c o r p o r a te s a l l o f D ont's Opus 37 in a p r a c t i c e g u id e . I t i s in te n d e d

t h a t t h i s work w i l l encourage c o lle a g u e s to w r i t e p r a c t i c e manuals based

on o t h e r im p o rta n t e tu d e s in t h e l i t e r a t u r e . The a u th o r hopes t h a t

s t u d e n t s who use t h i s s tu d y guide w i l l f i n d t h a t i t p ro v id e s e f f e c t i v e

a s s i s t a n c e in le a r n i n g how t o p r a c t i c e .

The a u th o r recommends t h a t t h e s tu d e n t stu d y c e r t a i n l i t e r a t u r e

b e fo re s tu d y in g D o n t's Opus 37.

F i r s t , th e s tu d e n t sh o u ld s tu d y A P r a c t i c a l Method f o r V i o l i n ,

Book I , by N ico las Laoureux. A f t e r com pleting s tu d y o f t h i s w ork, th e

s t u d e n t sh ou ld p roceed w ith t h e s tu d y o f th e e tu d e s o f Jacques Fereol

Mazas, Opus 36. The s tu d y o f Mazas sh ou ld in c lu d e th e Etudes S p e d a l e s

and th e Etudes B r i l l a n t e s . I t i s recommended t h a t th e s t u d e n t use th e

Gal amian E d itio n o f t h e Mazas w orks.

E x c e p tio n a lly t a l e n t e d s t u d e n t s o f middle school and j u n i o r high

school age a r e o f te n read y f o r s e r i o u s s tu d y o f th e v i o l i n e tu d e

l i t e r a t u r e . However, th e e x ten d e d le n g th o f t r a d i t i o n a l e tu d e s i s o fte n

im p r a c tic a l f o r s t u d e n t s in v o lv e d in many e x t r a - c u r r i c u l a r a c t i v i t i e s .

In th e c ase o f such s t u d e n t s , th e t e a c h e r may choose to s u b s t i t u t e th e

e tu d e s o f th e S t r i n g Power s e r i e s by S a l l y O 'R e i l l y . These e tu d e s

a d dress some o f t h e same problems d e a l t w ith in th e Mazas e t u d e s , b u t

2I b id . , p. 101.
 68
a r e o f a b b r e v ia te d le n g th .

When a s tu d e n t has s u c c e s s f u l l y completed s tu d y o f t h e l i t e r a t u r e

c i t e d above, he sh o uld b egin stu d y o f th e Twenty-Four S t u d i e s , Opus 37

by Dont.

C o n c u rre n tly w ith th e s tu d y o f D o n t's Opus 37 t h e s t u d e n t should

p ra c tic e sc a le s. The s c a le r o u t i n e s which w i l l prove u s e f u l in c lu d e :

t h e S c a le System o f Carl F le s c h , and t h e s c a l e s in Contemporary V io lin

Technique by Galamian and Neumann.

Jacob Dont in te n d e d h i s Twenty-Four S t u d i e s , Opus 37 t o be used

as p r e p a r a t o r y m a te r ia l f o r th e s tu d y o f t h e Forty-Two S tu d ie s by

Rudolphe K re u tz e r. When th e s t u d e n t has completed s tu d y o f t h e Opus 37

o f Dont, i t i s s u g g e ste d t h a t he stu d y K re u tz e r. The Galamian E d itio n

o f t h e K re u tz e r Forty-Two S tu d ie s i s recommended.

S u c c essfu l com pletion o f t h e s tu d y o f D o n t's Opus 37 w i l l p ro v id e

t h e s t u d e n t w ith t h e t e c h n i c a l fo u n d a tio n n e c e s s a ry t o a s p i r i n g

p ro fessio n al v i o l i n i s t s .
 SELECTED BIBLIOGRAPHY

B a r r e t t , Henry. The V io la : Complete Guide f o r Teachers and S tu d e n ts .

2nd e d . The U n iv e r s ity o f Alabama P r e s s , 1978.

B r o n s te in , Raphael. The S cience o f Viol in P la y in g . 2nd e d . Neptune,

New J e r s e y : Riagam'niana P u b l i c a t i o n s , 1981.

F le s c h , C a r l. The A rt o f V io lin P la y in g . Two Volumes T r a n s la te d by

F re d e ric k H. Martens^ \Tol. 1: T ec h n iq u e in General and
Applied T echn iq ue. Boston: CarTTTscReF, I n c . , 1939.

Galamian, Ivan. P r i n c i p l e s o f V io lin P lay in g and T e a ch in g . 2nd ed.

E d ited by E l iz a b e th S 7 N. Green. Englewood C l i f f s , New J e r s e y :
P r e n t i c e - H a l l , 1985.

G e rle , R o b ert. The A rt o f P r a c t i s i n g t h e V i o l i n . London: S ta in e r

and B e l l , 1 9 8 3 .

Green, E liz a b e th A. H. Teaching S tr in g e d In stru m e n ts in C l a s s e s .

Englewood C liffs," N e w J e r s e y : P r e n t i c e - H a l l » T96(T

Kohut, Daniel L. Musical Perform ance: Learning Theory and Pedagogy.

Englewood Cl i f f s , New J e r s e y : P r e n ti c e - H a ll , 1985.

M iserend ino , I ll u m in a t o . Balanced V io lin Tone P r o d u c tio n . New York:

I l l u n i n a t o M ise re n d in o , 1966.

Jo u rn a ls:

Clapp, Stephen. "Tension in V io lin P la y in g ." American S t r i n g Teacher

33 (Summer 1982): 10-11.

Moore, Thomas. "C ru cial D iff e re n c e s in th e Execution o f t h e S p ic c a to

and S a u t i l l e Bowing S t r o k e s . " American S t r i n g Teacher 33 (S p rin g
1983): 9-10.

Schm idt, Rodney. "The Leqacy o f Ivan G alam ian." American S tr in g T eacher
35 (S p rin g 1985): 4 8 -4 9 .

69
 20

D ic tio n a rie s:

The New Grove D ic tio n a ry o f M u sic' and M u sic ia n s, 1980 ed. S .v .

" V io lin Technique Since 17 85 .11

Unpublished Sources:

Dobbs: F e rr y , New York. Estherwood Music F e s t i v a l . Data from M a s te rc la s s

w ith M argaret Pardee o f th e v i o l i n f a c u l t y , J u i l l i a r d School o f
Music.

W estp o rt, New York. Meadowmount School o f Music. Data from In te rv ie w s

w ith M argaret Pardee o f th e v i o l i n f a c u l t y , J u i l l i a r d School o f
Music.

Music:

Dont, Jac o b . Twenty-Four S t u d i e s , Opus 37. E d ite d by Ivan Galamian.

New York! I n t e r n a t i o n a l Music C o ., 1967.
 APPENDIX A

THE PREPARATORY EXERCISE FOR THE SHIFT

A s u p e r i o r s h i f t i n g te c h n iq u e in c lu d e s two e s s e n t i a l s k i l l s :

th e a g i l e arid a c c u r a te movement o f th e m uscles in making t h e s h i f t ;

a n d , a c c u r a t e m o n ito rin g by t h e e a r o f t h e p i t c h d i s t a n c e encompassed

by th e s h i f t j

The fo llo w in g examples a r e r e p r e s e n t a t i v e o f th o s e ty p e s which

o c c u r w ith t h e g r e a t e s t fre q u e n c y in th e Twenty-Four S t u d i e s , Opus 37 o f

Jacob Dont.

SHIFT WITH
AUXILLIARY NOTE
SHIFT

Example A z -

0 I *- ...T 1

SHIFT WITH
AUXILLIARY NOTE
SHIFT

The s h i f t r e f e r r e d t o in Example A-l (above) i s one in which d i f f e r e n t

1
Carl F le s c h , The A rt o f V io lin P la y in g , v o l. I , p. 27.

71
f i n g e r s a r e used t o e x e c u te t h e . n o t e p re c e d in g and t h e . n o t e fo llo w in g

the s h i f t . In Example A - l , t h e f i n g e r used t o perform th e .n o te .I m m e d ia te ly

p re c ed in g t h e s h i f t is t h e f in g e r .w h ic h s l i d e s t o t h e new p o s i t i o n , both
2
1n a sc e n d in g and 1n descen din g s h i f t s .

The f o llo w in g p r e p a r a t o r y e x e r c i s e can be a p p lie d t o any s h i f t

which can be c a t e g o r i z e d w ith Example A-l ( o r A -2). In t h i s e x e r c i s e ,

t h e f i r s t and second f i n g e r s remain on t h e f in g e r b o a r d as th e second

juo 9
f i n g e r s l i d e s from c and th e d . I t w i l l be n o te d by th e s t u d e n t

t h a t th e i n t e r p o l a t e d p i t c h ( o r a u x i l l i a r y n o te ) i s o n ly used in p r a c t i c e .
#2
S tep 1: The s l i d e b e g in s s im u lta n e o u s ly w ith th e b e g in ning o f th e c

and proceed e v e n ly , a r r i v i n g a t th e e c a t p r e c i s e l y t h e tim e i t i s t o b e g in .

n
M.M. 60 = J>

§2
S tep 2: The s l i d e b e g in s on th e t h i r d s i x t e e n t h - n o t e v a lu e o f t h e c ,
2
a r r i v i n g on the e p r e c i s e l y on tim e.

M.M. 60 = J-

S tep 3: The s l i d e b e g in s on th e s e v e n th t h i r t y - s e c o n d - n o t e v a lu e o f th e

2
Henry B a rre tt, The V io la , p. 64.
 73
jtn n
c , a r r i v i n g on th e e p r e c i s e l y on tim e.

M.M. 60 =

Hng
Step 4: The s tu d e n t s h o u l d .d e l a y , as lo ng a s p o s s i b l e , th e move to t h e
2 2
e . Then, a t t h e l a s t p o s s i b l e f r a c t i o n o f a second b e fo re t h e d i s to
&2 2
sound, th e second f i n g e r s l i d e s from c t o e . The v i o l i n heck should

be g rip p e d as l i g h t l y as p o s s i b l e d u rin g t h e s h i f t . As a r e s u l t , th e

s h i f t a c t i o n w i l l be v e ry f a s t and y e t smooth and f u l l y c o n t r o l l e d . The

u l t i m a t e goal in Step 4 sh ou ld be t o make t h e s h i f t i n a u d i b l e .

M.M. 60 = . h

In Step 4 , p r a c t i c i n g th e s h i f t a c t i o n f a s t in th e c o n t e x t o f a slow

tempo p e rm its t h e d i c t a t i o n o f t h e s h i f t i n g movements w ith th e mind.

This promotes a c c u r a t e tim in g 1n t h e sequence o f m u scu lar movements and

r e s u l t s in c o n fid e n c e and a cc u ra cy in s h i f t i n g when p la y in g a t f a s t e r

tem pos.^

A f te r p r a c t i c i n g a s h i f t u s in g S te p s 1 th rou gh 4 , th e s t u d e n t

s h o u ld p r a c t i c e th e s h i f t in th e c o n t e x t o f t h e pa ssa g e from which i t

i s d e riv e d .

I t i s im p o rta n t t o use f ir m l e f t - h a n d f i n g e r a r t i c u l a t i o n o f th e

3
Bronstein, The Sciencd o f V io lin Playing, p. 17.
d e s t i n a t i o n n o te In s h i f t s such as 1n Example A-2 w he n .th e n o te s a r e

s l u r r e d on one bow.

In a d d i t i o n t o th e s h i f t s m entioned ab ove, t h e r e a r e s e v e ra l

o t h e r ty p e s o f s h i f t s e n c o u n te re d as fo llo w s :

Example B: M.M. 60 = "1

l j .... - - 1 f -----------
4 b ------- J
3
nr

In Example B, th e same f i n g e r i s used f o r t h e i n o t e p re c e d in g and

t h e n o te fo llo w in g t h e s h i f t . I t i s n e c e s s a r y t o f l a t t e n th e f i n g e r

s l i g h t l y in s h i f t s o f t h i s c a te g o r y , Im m ediately b e fo re making th e

s h if tin g a c tio n .^

The p r e p a r a t o r y e x e r c i s e f o r s h i f t s r e p r e s e n t e d by Example B

i s given below. In each s t e p l i s t e d below, t h e change t o up-bow i s

n e v e r made u n t i l th e t h i r d f i n g e r re a c h e s d .

S te p 1: The s l i d e i s i n i t i a t e d a t t h e b eg in n in g o f g^. The s l i d e must

p
be e x e c u te d e v e n ly , so t h a t t h e d 1s n o t re a c h e d u n t i l p r e c i s e l y tim e

f o r i t t o b e g in .

S te p 2: The f i n g e r sh o u ld s l i d e e v e n ly from t h e second o f t h e t i e d e i g h t h

2
n o te s t o d .

Mb,
>— 3--^r3r----- 1
u 3
m .

^ B a rre tt, The Viola^ p. -64.

S tep 3: An e v en ly e x e c u te d s l i d e must o c cu r from th e t i e d s i x t e e n t h

n o te ( g 1 ) t o d2 .

M.M. 60 = }

S tep 4: An even s l i d e sh o u ld be e x ec u te d from th e t i e d t h i r t y - s e c o n d

2
n o te t o d .

3 3

Step 5: In t h i s s ta g e o f p r e p a r a t i o n , t h e s l i d e sh o u ld be e x ec u te d so
2
r a p i d l y t h a t t h e a u x i l l i a r y n o te sh o u ld be c o n ce iv e d as b e ing d i n s t e a d

o f g 1 as in t h e p re v io u s s t e p s . However, t h e a u x i l l i a r y n o te in t h i s

s te p is in a u d ib le .

M.M. 60 rj - - yf o x i
4 r

Example C:

M.M. 60 ■= *

n r —5 *■
TL
 76

The p r e p a r a t o r y e x e r c i s e * f o r . s h i f t s . s u c h a s th e one 1n Example

C I s giv en below. In each s t e p , - i t i s e s s e n t i a l t h a t . t h e . s t r i n g c r o s s i n g

be tim ed so t h a t th e bow a r r i v e s o n . t h e A s t r i n g a t p r e c i s e l y th e tim e

2 1
th e c 1s t o b e g in . A ls o , t h e a r r i v a l o f t h e t h i r d f i n g e r a t g and
' 2
th e placem ent o f th e second f i n g e r on c s h o u ld o c c u r s im u lta n e o u s ly .

S tep 1:

M.M. 60 = J 1

^ " 1 Jz
U t -------

Step 2:

M.M. 60 = J*

S tep 3:

M.M. 60 =
Si
3 ^ 2
JIT. JX.
 APPENDIX B

THE SON FILE: A PRACTICAL APPLICATION

The Son F i l e Defined

Son F il e Is t h e French term f o r " th e to n e spun out" and in v i o l i n

p la y in g r e f e r s t o th e p r a c t i c e o f f u l l , s u s ta in e d bow s t r o k e s . The son

f i l e i s a l s o r e f e r r e d to a s th e long bow and i t s c e n t r a l purpose i s to

d evelop p u r i t y and evenness o f to n e p ro d u c tio n .

In Appendix B, t e c h n i c a l o b j e c t i v e s a re s p e c i f i e d f o r c o r r e c t

p r a c t i c e p rocedure o f t h e son f i l e . P r a c t i c e p ro c e d u re s a re th en s p e c i f i e d .

O b je c tiv e s in P r a c t i c i n g t h e Son F i l e

I. A c o n s i s t e n t sounding p o in t

II. Even p r e s s u r e on th e s t r i n g

III. C o n s is te n t bow speed

IV. P ro p er a n g le o f th e bow h a i r in r e l a t i o n t o th e s t r i n g

V. The a b i l i t y t o e x e c u te a v i r t u a l l y in a u d ib le change o f

bow d i r e c t i o n ,

The s t u d e n t sh o u ld n o te t h a t t h e sequence o f t h e o b j e c t i v e s

above i n d i c a t e s t h e o r d e r in which each o b j e c t i v e sh ou ld be r e a l i z e d

in p r a c t i c e . In t h e b e g in n in g , th e s t u d e n t sh o u ld use th e B asic E x e rc ise

f o r th e Son F i l e given below. At th e d i s c r e t i o n o f t h e s t u d e n t 's t e a c h e r ,

t h e p r a c t i c e o f th e son f i l e may be combined w ith slow s c a l e s , e x e r c i s e s

in d o u b le - s to p s , e t c .

77
 78

B a s ic E x e rc is e f o r th e Son F i l e

. ^ Si ^ = 9
16) * — r ------------- d
— o ■JL - 0 ------
0 =r 5?
& = * =
■•— ■a ■
K t- — ----- u
w G
3?

P r a c t i c e Procedure

The E x e rc is e f o r th e Son F i l e (above) sh ou ld be p r a c t i c e d a t a

tempo o f M.M. 54 f o r each q u a r t e r - n o t e v a lu e . The e x e r c i s e s h o u ld be

begun w ith a down bow. Then, th e e x e r c i s e should be r e p e a te d w ith th e

bowing r e v e r s e d . The e n t i r e le n g th o f th e bow sho uld be used f o r each

n o te . The fo llo w in g d i r e c t i o n s c o rre sp o n d t o each o f th e s p e c i f i c

p r a c t i c e o b j e c t i v e s s t a t e d above.

I. C o n s is te n t Sounding P o in t

A c o n s i s t e n t sounding p o in t I s o b ta in e d by drawing t h e bow

c o n s i s t e n t l y p a r a l l e l w ith t h e b r id g e . To a c h ie v e t h i s o b j e c t i v e ,

o b serv e th e fo llo w in g :

A, P o s i t i o n o f t h e In stru m e n t

The s c r o l l o f t h e v i o l i n s h o u ld be h e ld h igh enough

so t h a t th e s t r i n g s a re p a r a l l e l w ith t h e f l o o r . The

v i o l i n sh o u ld a l s o be h e ld so t h a t th e bow 1s drawn p a r a l l e l

to th e f l o o r on th e G s t r i n g and so t h a t th e minimum d ista n ce

i s t r a v e r s e d by t h e bow and bow arm 1n c r o s s in g t o th e D

s t r i n g from t h e G s t r i n g (F ig u re 1 ) J

1 P a rd e e , Meadowmount In te r v ie w .
 79

F ig ure 1 — Diagram o f P ro per Planes f o r th e T r a j e c t o r i e s o f th e Bow

B. Arm P o s i t i o n a t th e Middle o f th e Bow

The u p p e r arm and fo rearm form a r i g h t a n g le a t th e elbow.

The fo rea rm and hand a r e a p p ro x im a te ly a l ig n e d w ith th e

w r i s t b e ing s l i g h t l y 1n an upward d i r e c t i o n . The fo rearm

1s a t a r i g h t a n g le t o t h e bow. The bow 1s a l s o p a r a l l e l

w ith t h e b r id g e . The r e s u l t 1s t h a t t h r e e s i d e s o f a s q u a re

a r e formed by t h e r e l a t i o n s h i p o f t h e upper arm, fo re a rm , and

bow. The elbow j o i n t and th e fr o g o f th e bow a r e o f equal

d i s t a n c e from t h e f l o o r . The above d e s c r i p t i o n o f t h e arm

p o s i t i o n a t t h e m iddle o f th e bow I s t h e same f o r a l l f o u r

strin g s.

C. Arm Movement 1n th e Upper H a lf o f t h e Bow

There a r e two b a s i c arm movements used 1n draw ing th e bow

from t h e m iddle t o th e p o i n t . The I n i t i a l movement, when

le a v in g t h e m iddle o f t h e bow, i s t o e x ten d t h e fo rearm

from t h e elbow. The fo rea rm sh o u ld be moved away from

t h e body. In t h i s p ro c e ss th e upper arm rem ains s t a t i o n a r y .

As t h e p o i n t 1s ap pro ach ed , th e second movement 1s em ployed.'

T h is movement 1s th e fo rw ard e x te n s io n o f t h e upper arm,

and i s combined w ith t h e c o n tin u in g e x te n s io n o f t h e fo rea rm

a l l th e way t o t h e p o i n t . I t I s Im p o r ta n t, however, n o t t o
extend t h e s h o u ld e r forward in t h i s p ro c e ss. In th e

case o f v i o l i n i s t s with r e l a t i v e l y s h o r t arms, the

in s tru m e n t can be held s l i g h t l y f u r t h e r to th e p l a y e r ’ s

r i g h t t o avoid t h i s problem. The p o in t a t which th e

e x te n s io n o f th e upper arm begins w ill o c cu r a t th r e e to

f i v e in ch es from th e p o in t o f th e bow, depending on th e

le n g th o f th e p l a y e r 's arm. The a c tio n used in r e tu r n in g

from th e p o in t t o th e middle i s th e r e v e r s e o f th e pro cess

d e s c rib e d above. When bowing from th e t i p , th e forearm and

upper arm a re p u lle d s im u lta n e o u sly in towards th e body.

When th e lo c a t i o n o f th r e e to f i v e inches from th e p o in t o f

th e bow i s re a c h e d , the upper arm becomes s t a t i o n a r y and th e

forearm c o n tin u e s to c lo s e in towards th e body u n t i l th e

middle o f th e bow i s reach ed . Observing th e degree o f

c o n s is te n c y o f th e sounding p o in t as th e s tr o k e p ro g re sse s

w ill a id in determ ining th e r a t e o f speed and to what e x te n t

arm movements should be made.

Arm Movement in th e Lower H a lf o f th e Bow

As th e bow i s drawn from t h e middle to th e f r o g , th e w r i s t

must be SIMULTANEOUSLY and EVENLY l i f t e d . This p ro cess w ill

r e s u l t in an arm p o s itio n a t th e fro g d e s c rib e d as fo llo w s :

1. The w r i s t and forearm form a 135° a n g le , th e w r i s t j o i n t

being th e v e rte x o f t h e a n g le .

2. The w r i s t w ill be fo u r to s ix inches h ig h e r th an th e

fro g o f th e bow (depending on th e le n g th o f th e s t u d e n t ’ s

hand and f i n g e r s ) .

3. The upper arm moves w ith in th e same plan e.

 81

In drawing th e bow from th e middle t o th e f r o g , t h e s tu d e n t

should o nly l i f t . t h e : w r i s t as f a r as n e c e s s a r y .to keep th e

bow p a r a l l e l w ith th e b r id g e . When bowing from th e fro g to

th e middle o f th e bow, t h e . w r i s t g ra d u a lly lo w ers. When th e

middle o f th e bow i s re a ch e d , th e w r i s t i s b e n t upward only

slig h tly . The upper arm makes a h o riz o n ta l motion as th e

bow i s drawn from th e fro g to th e m iddle.

There a r e two common f a u l t s made in arm movements in th e

lower h a l f o f th e bow which should be avoided:

F a u lt No. 1 : s t r a i g h t e n i n g ou t th e f i n g e r s o f th e bow

g rip sim u lta n eo u sly w ith th e r a i s i n g o f w r i s t as th e fro g

i s approached.

C o rre c tio n f o r F a u lt No. 1: The s tu d e n t sho uld l i f t only

th e w r i s t w ith o u t changing th e p o s tu re o f th e bow g r ip .

F a u lt No. 2 : l i f t i n g th e s h o u ld e r as th e fro g i s approached.

C o rre c tio n f o r F a u lt No. 2 :

The s tu d e n t should move th e
2
upper arm o n ly —nev er w ith th e muscles o f th e sh o u ld er.

II. O btaining Even Bow P ressu re on th e S tr in g

To o b ta in a pure and evenly produced to n e , th e p r e s s u r e o f th e bow .

h a i r on th e s t r i n g must be executed ev enly th ro u g h o u t th e e n t i r e length

o f th e bow. The fo llo w in g procedures a re t o be used.

1. At th e F r o g - C o rre c t a p p l i c a t i o n o f bow p re s s u re a t th e

fro g i s o b ta in e d through a combination o f two f a c t o r s :

"droppincf' the arm, and " ca tc h in g " th e arm. "Dropping" th e

arm in v olv es a llo w ing th e arm w eight t o s in k i n t o th e s t r i n g .

To avoid ex cess p re s s u re th e muscles o f th e arm must s u p p o rt

2Henry B a rre tt, The V iola, p. 72.

 o r " c a tc h " th e arm w eig h t a s i t i s low ered i n t o th e s t r i n g .

The "Dropping" and " c a tc h in g " s e n s a tio n s must o c c u r in th e

c o r r e c t b a la n c e in o r d e r t o a c h ie v e a good to n e .

2. At t h e P o i n t —-P re ss u re a t t h e p o i n t i s o b ta in e d by a

com bination o f le v e r a g e and arm w e ig h t. The le v e r a g e i s

ach ie v e d by p r e s s in g downward on t h e s t i c k w ith th e index

f i n g e r w h ile s im u lta n e o u s ly p r e s s i n g in an upward d i r e c t i o n

w ith th e thumb. I f t h e s h o u ld e r rem ains r e la x e d in t h i s

p r o c e s s , t h e s t u d e n t can use t h e w eight o f t h e arm t o e x e r t

bow p r e s s u r e a t t h e p o in t by means o f th e le v e r a g e d e s c rib e d

above.

3. Drawing th e Bow Between th e Frog and P o in t— In bowing from

th e fro g t o th e p o i n t , t h e s t u d e n t must g r a d u a lly a p ply more

le v e r a g e (a s d e s c r ib e d a b o v e ). The le v e r a g e must be d e c re a se d

g r a d u a lly when bowing from th e p o i n t t o t h e f r o g . In a d d i t i o n ,

th e s tu d e n t must always keep th e r i g h t s h o u ld e r re la x e d . A

r e la x e d s h o u ld e r f a c i l i t a t e s c o n s t a n t m o n ito rin g o f th e

s e n s a tio n o f arm w e ig h t a s i t combines w ith bow -grip le v e r a g e .

III. C o n s is te n t Bow Speed

M ain tain in g an even bow speed th ro u g h o u t a s t r o k e i s d i f f i c u l t

f o r some s t u d e n t s . Awareness o f common f a u l t s and c o n s c ie n tio u s avoidance

o f them w i l l h e lp t h e s t u d e n t develop evenness o f bow sp ee d . Two o f

th e s e f a u l t s a r e :

1. a tendency t o speed up a s th e m iddle o f th e bow i s approached

2. f a i l u r e t o m a in ta in bow speed when a p proachin g and le a v in g

3Rodney S c h m id t,: "The Legacy o f Ivan G alam ian,” American S t r i n g

T eacher 35 (S p rin g 1985): 48-49.
 83

th e fro g o r p o in t.

IV. P ro p er Angle o f th e Bow Hai r in R e la tio n t o t h e S t r i n g

A. Upper t h i r d - - I n th e upper t h i r d o f th e bow th e h a i r i s

p o s itio n e d f l a t on t h e s t r i n g due t o a p e r p e n d ic u la r

r e l a t i o n s h i p o f th e fr o g t o t h e s t r i n g (Diagram A).

Diagram A Diagram B

Frog o f Bow Frog

STRING & STRING 45°1
1 ------
Bridge Bridge

End view o f Bow p o s i t i o n Outward t i l t o f bow upon

a t upper t h i r d o f th e bow's re a c h in g t h e fro g
le n g th .

B. Lower t h i r d ~ T h e fro g o f th e bow i s p e r p e n d ic u la r to th e

s t r i n g a t t h e upper t h i r d o f th e bow's le n g th . C o nsequ en tly,

a l l th e bow h a i r c o n ta c ts th e s t r i n g . Beginning one t h i r d

o f t h e bow's le n g th from th e p o i n t , th e bow e v e n ly t i l t s more

and more tow ards th e f i n g e r b o a r d .

By th e tim e th e fro g i s re a c h e d , th e s tu d e n t s h o u ld assume a

45° a n g le outw ard t i l t w ith th e bow. As a r e s u l t o f t h i s

t i l t i n g a c t i o n , l e s s and l e s s bow h a i r c o n ta c ts t h e s t r i n g

in drawing th e bow t o t h e f r o g . At t h e f r o g , o n ly two t h i r d s

o f th e t o t a l amount o f bow h a i r sho uld c o n ta c t t h e s t r i n g .

V. The A b i l i t y to Execute a V i r t u a l l y In a u d ib le Change o f Bow D ire c tio n

The a b i l i t y to change bow d i r e c t i o n (from down-bow t o up-bow and

v ic e v e rs a ) w ith v i r t u a l l y no i n t e r r u p t i o n o f to n e p ro d u c tio n in c lu d e s

th e fo llo w in g p r i n c i p l e s :

A. The s tu d e n t must draw t h e bow w ith s te a d y speed and p r e s s u r e

 84

im m ediately p re c ed in g and fo llo w in g t h e p o in t o f change.

There i s a common tend ency among s tu d e n t s to .s lo w the.bow

speed a t th e b e g in n in g and end o f s t r o k e s ; p a r t i c u l a r l y a t

th e fro g and p o i n t .

B. The f i n g e r s o f t h e bow; g r i p must p o s se ss th e c o r r e c t balance

o f firm n ess and f l e x i b i l i t y so t h a t a s p r i n g - l i k e a c tio n

i s ach ie v e d p r e c i s e l y a t t h e p o in t o f bow change.

The fo llo w in g s te p s sho u ld be used in a t t a i n i n g a smooth

change o f bow a t th e f r o g , p o i n t , o r any p o in t in between in any passage

where t h e e x e r c i s e i s needed.

Step 1: The s t u d e n t sh o u ld begin w ith th e s tr o k e p re c e d in g th e change

o f bow. The bow i s drawn t o t h e e n d , o f t h i s s t r o k e and sto p p ed . I f no

i r r e g u l a r i t y o f ton e has o c c u r re d , then bow speed and p r e s s u r e w i l l be

s te a d y . A b reak in t h e to n e u s u a ll y i n d i c a t e s e x c e s s iv e p r e s s u r e a n d /o r

bow speed which i s too slow .

S tep 2: The s t r o k e fo llo w in g t h e change o f bow sho uld be e x e c u te d . The

s tu d e n t sh o u ld check f o r to n a l i r r e g u l a r i t y . Any e x c e s se s o r d e f i c i e n c i e s

o f bow speed and p r e s s u r e sh ou ld then be c o r r e c t e d .

S tep 3: The s t u d e n t should p r a c t i c e t h e s t r o k e p re c e d in g and th e s tr o k e

fo llo w in g th e change o f bow d i r e c t i o n w ith a b r i e f pause between each.

An i n t e r v a l o f t h r e e seconds should be used i n i t i a l l y . Then, t h i s time

sh ou ld be reduced t o two, one, and one h a l f o f a second. F i n a l l y , th e

con nection sh o u ld be made between s t r o k e s . In t h e p ro c e ss o f g ra d u a lly

redu cin g th e i n t e r v a l between s t r o k e s , p a r t i c u l a r a t t e n t i o n needs to

be given t o th e bow g r i p . In t h e down-bow, t h e segments o f t h e f i n g e r s

c l o s e s t t o th e knuckles should be a lm o s t le v e l w ith th e to p o f th e hand.

Im n e d ia te ly a f t e r changing t o . t h e up-bow, th e f i n g e r s sh o u ld exten d

 85

downward and away from th e base knuckle j o i n t s b u t n e v er t o t h e , e x t e n t

t h a t any j o i n t i s lo c k e d . C o n c u r r e n tly w ith t h i s f i n g e r a c t i o n , th e

hand bends s l i g h t l y downwards from th e w r i s t a t th e b e g in nin g o f an

up-bow s t r o k e . The hand bends in an upward d i r e c t i o n from th e w r i s t

a t th e b eg in n in g o f a down-bow s t r o k e . The c o r r e c t amount o f m uscular

firm n ess and f l e x i b i l i t y must be determ ined by e x p e rim e n tin g . Once

t h e r i g h t com bination i s a c h ie v e d , th e r e s u l t i s a smooth change o f bow.

The s t u d e n t s h o u ld memorize th e p h y s ic a l s e n s a tio n s which o c cu r w ith th e

c o r r e c t b a la n c e o f firm n e s s and f l e x i b i l i t y in th e bow g r i p . These

s e n s a tio n s should be d u p lic a te d w ith as much c o n s is te n c y as p o s s i b l e .

The s e n s a t i o n s which accompany th e change o f bow d i r e c t i o n should f i r s t

be e x p e rie n c e d by th e upper arm and l a s t o f a l l by th e f i n g e r s o f th e

bow g r i p . 5

Step 4: When combining a change o f bow w ith a c r o s s in g to a new s t r i n g ,

th e r e i s a common tendency t o reduce t h e bow p r e s s u r e as t h e c r o s s in g

motion i s made. To a v o id th e r e d u c tio n o f p r e s s u r e as th e s t r i n g c r o s s in g

i s made, th e fo llo w in g p r e p a r a t o r y e x e r c i s e i s h e l p f u l :

The bow sh o u ld be p la ce d on t h e s t r i n g a t t h e fro g o r t i p .

W ithout drawing t h e bow, t h e s t r i n g sh o u ld be c ro s s e d w ith th e whole arm.

Even bow p r e s s u r e must be m a in ta in e d . The s t r i n g c r o s s in g should be

re p e a te d s e v e ra l tim es. A f t e r t h e s e n s a tio n which accompany th e even

a p p l i c a t i o n o f even bow p r e s s u r e a r e f.i-ftnly e s t a b l i s h e d in th e s t u d e n t ' s

te c h n iq u e , c r o s s in g th e s t r i n g w ith even p r e s s u r e may be combined w ith

drawing th e bow and changing th e d i r e c t i o n . The r e s u l t w i l l be a

*£
c o n tin uo u s tone a t t h e p o i n t o f t h e bow change.

5B a r r e t t , The: V i o l a , p. .53.

6 I llu m in a to M iserendino, B alanced V io lin Tone P rod uctio n (Bronx,

New York: By th e Author, 2723 W allace Avenue, 1966), p. T T
 APPENDIX C

RHYTHMIC PATTERNS1

1. jjn ... / r n 3.
0 3 ... 333“ 3
5. m ... sn 7. JT 33 ... JTT3
9. m sw m 11.

13.
n m srfm»• J jj J M i
14.
n bbb J5H ”•
15.
o jS b n - Jft J3JJ33J3 J
16.
ms n offs *■/J j J JISBS
17.
jste n jra mm j J ti
18.
j t e ® t j »• J IS 3 3 Jj] J
1
Ivan Galamian, P r i n c i p l e s o f V io lin P la y in g and T e a c h in g , p. 97

86
 APPENDIX D

PREPARATORY EXERCISE FOR

THE TRILL

Any t r i l l which p r e s e n t s d i f f i c u l t y t o t h e s t u d e n t may be

p r a c t i c e d in a cco rd an ce w ith th e fo llo w in g p ro c e d u re .

P r a c t i c e P rocedure

The s t u d e n t sh o u ld a p p ly th e rhythms in F ig ure 1 J below , t o

p r a c t i c e any given t r i l l .

F ig ure 1 - - P r e p a r a to r y Rhythms f o r th e T r i l l

D O T 3 4> J I f f f l

z > j i 3 5, j j m j T }

3 ) J7J1 6> n

VS/ 7) JJT3 JJJJi JJ J—thei*as 7ast

as p o s s ib le

S tep 1: The s t u d e n t s h o u ld begin on t h e upper n o te o f t h e t r i l l and

perform in each given rhythm ic p a t t e r n a t tempos o f :

M.M. 54 = q u a r t e r n o te p u ls e

M.M. 80 = q u a r t e r n o te p u ls e

M.M. 100= q u a r t e r n o te p u ls e

Each rhythm sh o u ld be p r a c t i c e d f o r s e v e r a l b e a ts w ith lo n g s u s t a i n e d

bow s t r o k e s u n t i l th e t r i l l a c t i o n f e e l s c o m fo rta b le . When th e trill

can be e x e c u te d s u c c e s s f u l l y 1n each rhythm p a t t e r n th r e e c o n s e c u tiv e

^P a rd e e , Estherwood m a s t e r c l a s s .

87
 88

tim e s , th e s tu d e n t should proceed to th e n e x t rhythm.

S tep 2 : . The procedures in Step 1 should be a p p lie d , beginning th e

t r i l l on th e p r i n c i p a l n o te ( r a t h e r . t h a n th e upper neig h b o rin g to n e ) .

The T r i l l : P r i n c i p l e s o f Execution

In a p ply ing Steps 1 and 2 in th e procedure s p e c i f i e d above, the

fo llow in g im po rtan t p r i n c i p l e s sh o u ld .b e observed:

a) Special care should be taken n o t to use excess f i n g e r

p re s s u re . The f i n g e r should be dropped fir m ly and r a p i d l y ,

b u t w ith only th e minimum fo r c e n e c e ssa ry t o in s u re c l e a r

a rtic u la tio n .
Then, th e f i n g e r should be allow ed to l i f t
2
w ith th e same fo rc e and speed w ith which i t was dropped.

b) I t i s n e c e s s a ry t o guard a g a i n s t te n s io n in th e p a r ts o f

th e hand no t involved w ith th e t r i l l a c t i o n . Excess

p re s s u re used in th e prehension o f th e thumb and th e f i n g e r

which remains on th e fin g e rb o a rd i s th e most common source

o f te n s io n in th e t r i l l . One remedy f o r t h i s problem is

to r e s t th e s c r o l l o f th e instru m e n t on a music s ta n d , w hile

e x e c u tin g th e t r i l l . This p ro cess w i l l r e i n f o r c e a response

o f t o t a l r e l a x a t i o n o f th e thumb w hile t r i l l i n g and h e lp

3
to e lim in a te cramping o f th e thumb.

c) The f i n g e r which e x ecu tes th e t r i l l should be r a i s e d from

and dropped to th e fin g e rb o a rd th e d is ta n c e o f one h a l f an

in c h .^

2B a r r e t t , The V io la , p. 60,

3 F le s c h , The A rt o f V iolin Playing v o l . 1, p. 46.

^This p r e s c r i p t i o n i s based on the p r a c t i c a l e x p erien c e o f th e

a u th o r.
 89

APPENDIX E

PRACTICING MIXED BOWINGS

A mixed bowing 1s a bowing p a t t e r n 1n which s e p a r a t e l y bowed

n o te s o c c u r 1n com bination w ith groups o f n o te s s l u r r e d on one bow

stro k e .

Example A: Mixed Bowing P a t t e r n

The s p e c i f i c mixed bowing given In Example A, above, 1s most

commonly e x e c u te d in th e u p p e r h a l f o f t h e bow. The f i r s t n o te 1s

e x e c u te d b e g in n in g a t th e m iddle o f t h e bow and co n clu d in g a t th e p o i n t .

The t h r e e n o te s ta k e n on th e up-bow s l u r a r e a l s o e x e c u te d w ith h a l f th e

bow; b e g in n in g a t t h e p o i n t , and co n clu d in g a t th e m iddle. T herefore,

t h e n o te e x e c u te d w ith a down-bow s t r o k e r e c e iv e s t h r e e tim e s as much bow

as any g iv en one o f t h e t h r e e n o te s s l u r r e d on one s t r o k e . As a r e s u l t

o f d i f f e r i n g amounts o f bow b e in g used f o r n o te s o f equal v a l u e , a c h ie v in g

equal volume between s l u r r e d and s e p a r a t e l y bowed n o te s becomes a

problem. T his problem must be s o lv e d 1n e x e c u tin g any mixed bowing

p a tte rn .

The p r e s c r i p t i o n s f o r p r a c t i c e given 1n t h i s Appendix p r e s e n t th e

b a s ic p r i n c i p l e s o f p r a c t i c e used to e x e c u te any mixed bowing p a t t e r n

 90

w ith even volume on a l l n o t e s .

PROCEDURE

The f a c t o r s o f bow sp ee d , bow p r e s s u r e and sounding p o i n t a re

combined in s p e c i f i c ways in e x e c u tin g any mixed bowing p a t t e r n

c o rre c tly . The s tu d e n t sho uld p r a c t i c e Example A as a model t o le a r n

t h e p ro p e r p r i n c i p l e s in e x e c u tin g mixed bowings. The fo llo w in g

p roced ure sho uld be a p p l i e d in p r a c t i c e , a t a tempo o f M.M. 104 to th e

s i x t e e n t h n o te .

Execution o f th e Note Taken on a S e p a ra te Bow S tro k e (c ):

S tep 1: The p a t t e r n sh o u ld be e x e c u te d a t th e m iddle o f th e bow in

d e ta c h e bowing using t h e m iddle sounding p o i n t —2 .5 B.H.R.W. from th e

b r id g e .^
2
Step 2 : As t h e s t r o k e p ro c e e d s , th e arm sho uld move o u t , when th e

l o c a t i o n o f f o u r in ch es from t h e p o i n t i s re a ch e d . The o u t motion

sh o u ld be made t o th e e x t e n t t h a t th e bow h a i r moves in toward th e

b rid g e t o a sounding p o i n t o f 1 B.H.R.W. from th e b rid g e as t h e p o in t

o f t h e bow i s reach ed .

S te p 3: At th e c o n c lu s io n o f t h e down-bow s t r o k e , a p a r a l l e l

r e l a t i o n s h i p between t h e bow and b rid g e sho uld be reassumed. The bow

i s now in th e c o r r e c t p o s i t i o n t o e x e c u te th e t h r e e s l u r r e d n o t e s .
2 2 2
E xecution o f t h e t h r e e S l u r r e d Notes (d , e and c ) :

S tep 1: M ain tain in g a sounding p o i n t o f 1 B.H.R.W., th e s t u d e n t should

H h i s sounding p o in t i s commonly r e f e r r e d to as th e m iddle

sounding p o in t because i t i s l o c a t e d mid-way between t h e b r id g e and th e
end o f t h e f in g e r b o a r d .
n
The term "out" i s borrowed from Ivan Galamian and r e f e r s to th e
e x te n s io n o f th e upper arm as th e p o i n t o f th e bow i s reached. The term
i s c i t e d in Galamian, P r i n c i p l e s o f V io lin P lay in g and T e a ch in g , p. 112.
proceed from th e p o in t o f th e bow. H eavier bow p r e s s u r e sh o u ld be used

on th e s l u r th a n on t h e s e p a r a t e l y bowed n o te . The e a r must judge a s

to how much p r e s s u r e t o u se.

S tep 2: When f o u r in ch es from th e m iddle o f th e bow, t h e bow p r e s s u r e

sh o u ld be reduced g r a d u a lly . As a r e s u l t , th e bow h a i r w i l l r e a s s u r e

i t s o r i g i n a l sounding p o i n t o f 2 .5 B.H.R.W. by t h e tim e t h e m iddle o f

t h e bow is reached. The e n t i r e p a t t e r n i s then con clu d ed .

Summary o f Procedure f o r Mixed Bowings

1. R e l a t i v e l y h e a v i e r bow p r e s s u r e and slo w er bow speed s h o u ld be used

on s l u r s th an t h a t used f o r s e p a r a t e n o te s .

2. A sounding p o in t r e l a t i v e l y c l o s e r t o th e b rid g e sh o u ld be used

f o r s l u r s than f o r s e p a r a t e n o t e s . In moving t o a sounding p o in t

c l o s e r t o t h e b rid g e in p r e p a r a t i o n f o r a s l u r , t h e s t u d e n t sh o uld :

a) Move ou t a t t h e c o n c lu s io n o f n o te s e x e c u te d on a down-bow

s t r o k e which p re c e d e s a s l u r .

b) Move in a t t h e c o n c lu s io n o f n o te s e x ec u te d on an up-bow s t r o k e
3
which precede a s l u r .

3The terms " o u t" and " i n " a r e borrowed from Mr. Galamian, and
r e f e r s t o t h e p u l l i n g o f t h e upper arm in toward t h e body. T his motion
would have a p p l i c a t i o n in Example A given in t h i s Appendix, i f th e
s e p a r a te n o te were taken on an up-bow and th e s l u r on an up-bow. These
forms a r e c i t e d in Galamian1s , P r i n c i p l e s o f V io lin P la y in g and T each ing ,
p. 112.
 GLOSSARY

B.H.R.W.: A b b re v ia tio n f o r bow h a i r ribbon w id th s . T his term i s

used th ro u g h o u t t h i s t e x t a s a u n i t o f measurement used t o s p e c i f y
a given sounding p o i n t . The d i s t a n c e i s measured from t h e i n s i d e
edge o f th e bow h a i r t o th e b r i d g e .

D ir e c tio n : This term i s used t o r e f e r t o t h e a m movement used t o

e f f e c t a change o f t h e sounding p o i n t . D ir e c tio n in c lu d e s both
th e moving o u t and moving in o f t h e a rm .'

Displacem ent: A te c h n iq u e in which r e l a t i v e l y more bow i s used on up

bow s t r o k e s th a n on down bow s t r o k e s ( o r v ic e v e rs a ) in a s p e c i f i e d
p a ssa g e. This p ro c e ss a f f e c t s a gradual s h i f t t o a d i f f e r e n t p o r tio n
o f t h e bow as th e passage i s e x e c u te d .

Legato: Bowing a c t i o n in which t h e to n e i s s u s t a i n e d . T his t e r n

in c lu d e s both s l u r r e d n o te s and d e ta c h e ..s tr o k e s .

Plane ( o f t h e bow): The c o n s i s t e n t t r a j e c t o r y th ro u g h which th e bow

t r a v e l s in t h e e x e c u tio n o f a s t r o k e on one given s t r i n g .

Sounding P o in t: The p o in t o f c o n t a c t o f th e bow h a i r w ith th e s t r i n g

r e l a t i v e to i t s p ro x im ity t o t h e b r i d g e . 2

U.H.B.: A b b re v ia tio n f o r upper h a l f o f th e bow.

V i o t t i Bowing: A bowing p a t t e r n in which two n o te s a r e ex ec u te d on

one bow s t r o k e . In th e V i o t t i s t r o k e th e second n o te i s a c c e n te d
and always o c cu rs on a s tr o n g b e a t o r a s t r o n g p a r t o f a b e a t.

W.B.: A b b re v ia tio n f o r whole bow.

H h i s t e r n i s borrowed from Ivan Galamian. P r i n c i p l e s o f V io lin

Playing and T eaching, p. 112.

2 I b i d . , p. 55.

92
 CHRISTOPHER THOMPSON

1210 O live S t r e e t
Murray, Kentucky 42071
(502) 759-1396

PERSONAL DATA

B irth : 3 /7 /5 3 Savannah, Georgia

M arriage: Laura Mobley, 1974
C h ild re n : Lauren Suzanne, 1/30/85

EDUCATION

D.M.A. V io lin Performance w ith Music H is to ry m inor,

( i n p ro g ress)
L ou isiana S t a t e U n iv e rs ity
R esid e n t work, 1980-1982
All requ irem ents f o r th e degree w ith th e e x c e p tio n
o f th e monograph have been com pleted. The
a n t i c i p a t e d d a te o f g ra d u a tio n i s May, 1986.

M.M. (1977) V io lin Performance w ith V io lin Pedagogy minor,

Memphis S ta te U n iv e r s ity
In cluded stu dy w ith Yuko T akahashi, i n t e r n a t i o n a l l y
known Suzuki s p e c i a l i s t .

B.M. (1976) V io lin Performance,

U n iv e r s ity o f Alabama

P r o fe s s io n a l Study: Meadowmount School o f Music, 1974 and 1975,

P r i v a t e s tu d y o f v i o l i n w ith M argaret Pardee
Estherwood School o f Music, 1985,
P r i v a t e s tu d y o f v i o l i n w ith M argaret Pardee

TEACHING EXPERIENCE

Murray S ta te U n iv e r s ity , 1982-1986

P o s itio n : I n s t r u c t o r o f Music ( f u l l tim e , t e n u r e - t r a c k p o s i t i o n )

D u ties: Teach s tu d io v i o l i n and v i o l a a t und erg rad uate and
g rad u ate le v e l
Coach chamber music
Perform as s o l o i s t and a s v i o l i n i s t o f F a c u lty Piano T rio
Conducted U n iv e r s ity Symphony (1982-1983)
Teach s t r i n g c l a s s and music a p p r e c ia tio n
Chairman o f S t r i n g U nit
Chairman o f Q uad-State S tr in g F e s tiv a l
D ir e c to r o f U n iv e r s ity S t r i n g P re p a ra to ry D ivision
Founding D ir e c to r o f "For S tr in g s Only," a summer
chamber music and chamber o r c h e s t r a camp f o r
high school s t r i n g p la y e r s
R e c r u itin g : Perform ing to u rs t o high s ch o o ls in th e
fo llow in g l o c a t i o n s : E v a n s v ille , In d ia n a ; L e i t c h f i e l d ,
Lexington, L o u i s v i l l e , Owensboro and Paducah,
Kentucky; S ik e s to n , S t. Louis and Cape G ira rd e au ,
93
 Christopher Thompson. 94"

M is s o u ri; and Memphis and N a s h v ill e , Tennessee.

Estherwood Music F e s t i v a l and Sumner S cho ol, 1985

P o sitio n : Teaching A s s i s t a n t o f M argaret Pardee

A s s i s t a n t C o n ce rtm aste r o f Estherwood F e s tiv a l
O rc h e s tr a , under bato n o f Yuri Krasnopolsky

ADJUDICATION EXPERIENCE

K.M.E.A. Large Ensemble F e s tiv a l

L o u i s v i l l e , Kentucky, March, 1983

Tennessee A l l - S t a t e O rc h e s tra A u d itio n s

Memphis, Tennessee, December, 1982

West Tennessee S t a t e Solo and Ensemble C o n te st

Memphis, T ennessee, F e b ru a ry , 1979

COMPETITIONS

N.F.M.C. Young A r t i s t A u d itio n s , 1983:

V io lin w in ner in M i s s is s ip p i

N.F.M.C. N ational S tu d e n t A u d itio n s , 1975:

N atio n al v i o l i n w inner

M.T.N.A. C o l l e g i a t e A r t i s t C o m petitio n, 1975:

V io lin w in n e r in Alabama

GRANTS AND SCHOLARSHIPS

F a c u lty Resource C e n te r G rant: Videotape P r o j e c t a t Estherwood F e s tiv a l

1985

D octoral Teaching A s s i s t a n t s h i p : L o u isia n a S t a t e U n iv e r s ity

1980-1981 and 1981-1982

Tupelo Young A r t i s t Foundation G ran t: $4,000

1981-1982
Awarded on b a s is o f l e t t e r o f reconmendation from M argaret P ard ee,
v i o l i n f a c u l t y member o f t h e J u i l l i a r d School o f Music

Baton Rouge Symphony S c h o la r s h ip : $1,800,

1980-1981 and 1981-1982, Awarded on b a s is o f c o m p e titiv e a u d itio n

Graduate S t r i n g Q u a r te t A s s i s t a n t s h i p : Memphis S t a t e U n iv e r s ity ,

1976-1977

Meadowmount School o f Music S c h o la r s h ip , 1975

 Christopher Thompson. 95

M eridian Symphony S c h o la rs h ip ( to th e U n iv e r s ity o f Alabama),

1975 and 1976

U n iv e r s ity o f Alabama V io lin S c h o la r s h ip :

R e c ip ie n t from 1972-1975

ORCHESTRAL EXPERIENCE

Jackson Symphony O r c h e s tr a , Jac k so n , Tennessee

C o n ce rtm aste r, 1986-1987

Owensboro Symphony O r c h e s tr a , Owensboro, Kentucky

F i r s t v i o l i n , 1982-1984

Paducah Symphony O r c h e s tr a , Paducah, Kentucky

F i r s t v i o l i n , 1982-1984

Baton Rouge Symphony O rc h e s tra

F i r s t v i o l i n , 1980-1982

S t a r k v i l l e . Symphony O r c h e s tr a , S t a r k v i l l e , M is s is s ip p i
C o n ce rtm aste r, 1980-1982

Tupelo Symphony O r c h e s tr a , T upelo, M is s is s ip p i

F i r s t v i o l i n , 1975-1980

M eridian Symphony O r c h e s tr a , M erid ian , M is s is s ip p i

F i r s t v i o l i n , 1972-1975 and 1981-1982

H u n ts v ille Symphony O r c h e s tr a , H u n t s v i l l e , Alabama

F i r s t v i o l i n , 1972-1975

C o n certm aster o f U n iv e r s ity Symphony O rc h e s tra s a t L o u isia n a S t a t e U n iv e r s ity ,

Memphis S t a t e U n i v e r s i t y , and th e U n iv e r s ity o f Alabama w h ile a s t u d e n t
a t th o se i n s t i t u t i o n s .

PROFESSIONAL AFFILIATIONS

American S t r i n g Teachers A s s o c ia tio n

Kentucky Music E ducators A s s o c ia tio n

CAREER OBJECTIVES

1. Continued p u r s u i t o f p r o f e s s i o n a l g o a ls a s a s o l o i s t , chamber m u sic ian ,

and as a member o f o r c h e s t r a s .

2. B u ild in g a s u p e r i o r s tu d io c l a s s o f v i o l i n i s t s / v i o l i s t s a t th e
u n iv e rsity le v e l.
 Christopher Thompson; : gg

3. The a tta in m e n t o f n a t i o n a l r e c o g n itio n a s a p r o f e s s i o n a l s t r i n g

e d u c a to r.

4. C o n trib u tio n o f a r t i c l e s on pedagogy and performance f o r p u b l i c a t i o n

in s c h o l a r l y j o u r n a l s .

5. P u b li c a tio n o f my d o c to ra l monograph: A P r a c t i c e Manual: Jacob Dont'

Twenty-Four S t u d i e s , Opus 37.

REFERENCES AND RECOMMENDATIONS

Dr. Dinos C o n s t a n t i n i d e s , P r o f e s s o r o f V io lin

and C om position, LSU
947 D aventry Drive
Baton Rouge, L o u isia n a 70808
(504) 766-3487

Ms. Gay M cCarter, General Manager

Jackson Symphony O rc h e stra A s s o c ia tio n
449 E ast B altim o re
P. 0. Box 2191
Jac k so n , Tennessee 38302
(901) 427-6440

M argaret P a rd e e , V io lin F a c u lty

J u i l l i a r d School o f Music
268 Parkway Drive
W estbury, New York 11590
(516) 997-8389

Marie T a y lo r, P r o f e s s o r o f Piano
Music Department
Murray S t a t e U n iv e r s ity
Murray, Kentucky 42071
(502) 436-2136

Dr. Bruce C ham berlain, P r o f e s s o r o f Conducting

Music Department
Murray S t a t e U n iv e r s ity
Murray, Kentucky 42071
(502) 753-4080

A d d itio n a l r e f e r e n c e s w i l l be f u r n is h e d upon r e q u e s t.
 DOCTORAL EXAMINATION AND DISSERTATION REPORT

Candidate: j a m e s C h r i s t o p h e r T ho m pson

Major Field: M u sic/V io lin perform ance

Title Of Dissertation: A p r a c t i c e Manual: Jacob D o n t's Twenty Four S t u d i e s , op. 27

Approved:

Major Professor and Chairman

^ ^
Dean of the Graduate School

EXAMINING COMMITTEE:

\. * QO. C S ro w

Date of Examination:

A p ril 28, 1986