Dont Op 35
24 Etudes and Caprices
for Violin Solo
Version 0.6 Dec 02 2007
(My main edition = IMC edited by Ivan Galamian)
Dont Op 35 Study notes (Selection of 8/24 etudes)
In suggested order of difficulty & study
Higher Intermediate level = 13, 17, 6, 4,
Very Advanced level = 8, 9, 14, 18
Please note, these are rough notes, with plenty of typos, quickly jotted on my
laptop as I listen to my hi-fi !
Still, expect to read some highly detailed insight into violin technique !!
(Note shorthand LH=Left hand / RH=Right hand)
Introduction
I propose a study course (a "Starter-Pack" if you like) selecting only around
8-12 out of the 24 etudes ; this is what I studied with my Russian Teacher in my
student days. I have added as a bonus number 1 because of its high value in
chord technique. I studied chord playing in detail on other studies, with easier
left hand chords... but this is a great advanced one to do. (Advanced because F
major is not as sonorous as G or D major !) Also, I have studied others to fill
in the gaps during my post student days. The idea was that 8 studies learnt well
; possibly by heart (this is what was expected of me in 1 week of study was to
memorise the assigned study) would take my playing to the next level i.e. up to
Dont opus 35 specifications ! Usually I would be warned about what technical
difficulties made up the study, and the first phrase would be worked on during the
previous lesson ; if the study seemed feasible, and the initial tips taken in,
then the okay was given, and I would play the study through by heart the next
lesson. Needless to say the first lesson would not always go well, especially
when a new study book is taken up. My hardest study book, perhaps because I
lacked the refinement and economics of superb string crossing was Gavinées 24
Matinees. Dont's Op.35 was never a huge obstacle, because I was well prepared
before I started playing them, the main requirements being solidity of style,
solid détaché, modest
10ths and extensions for left hand, and chords and double stop etudes with
legato bowing and smooth shifts. Many of the notes reproduced below are copied
from the pencilled notes straight off my copy. At the conclusion I give more
personal insight into how important these studies were for me. They went from
being a hate-hate relationship to a love-hate relationship as I starting
mastering some, and since my student days to a love-love relationship where only
good can come out of this book !
Dont op 35 n2 Presto - An introductory study in simple note
détaché
Now this was the first Dont study I ever did. It's easier than most I have
listed up ahead, and it's what you should already be capable of doing before we
go any further ! ...but really it's straight forward simple note (i.e. not
double stops) détaché study. There are many such studies in other Etude
collections, so I am putting it into an introductory category ; however it's
well worth learning so let's warm up with it ! I played it when I was very
young... probably just messing about. But with my main Russian teacher, the
second time round it was introduced after having mastered many Détaché studies
by Rode. This time it was for real and I had to play with a beautiful sound, and
with a super refined high-tech technique. There is mixed bowing to be found too
(mixed is a combination of slurred and separate), but the main objective here is
to perfect détaché. There's an added "twist" though; you get some harder LH
notes than Rode, some unusual fingering, and a fair bit of string crossing. Make
the RH elbow levels very near to each other when doing 2 string détaché, in
order to economise on string changing levels. (large movements and sudden level
changes disrupt the fluidity and the legato sound of a great détaché. Détaché
should be performed in the middle of the bow; more bow = slower tempo, and
smaller bows are for faster tempi. The net sound should be very legato like...
each separate note must be sustained beautifully and joined to the next so that
the tone carries on perfectly even transferred to the next note... and the
next... then a whole bunch of notes will sound like a melody !!! If you want to
practice some spiccato fine go ahead... but the real challenge is to take you
détaché onto the next level!! Everyone can play a bunch of disjointed notes (and
weak players thrive in chopping them up) but the real skill lies in a perfect
détaché mechanism. The skill of you détaché can be enhanced to newer standards
every time. There is no limit to the quality you can achieve... if you play with
a quality of A+ then you must aim for A++.
I am not going to go into the complex subject of détaché, right here. There are
useful pointers elsewhere on my site, but suffice it to say that it is perhaps
the most important violin bowing stroke.. and you should always be studying a
détaché study of some description... hey read also a Presto, or Gigue from a
Bach Partita ? Pretty much an indispensable bow stroke ! This is why it's a good
one, because détaché is so fundamental and we must always brush it up !!!
LH fingering; I have fingered the start (the first bar) of this study 1314 21-10
3102 D210 rather than Galamian's 1314 3210 3102 D210 because I find it easier. I
do not have big hands, and the first finger (move the finger only not the thumb
or anything else, as it's not a change of position) shifts on its own muscle
power. Accents can be added at a later stage; it is a good idea to play the
study with even tone and volume first then add dynamics and accents later.
One of the qualities of détaché is an even sound (the weaker up bow must be
played in full to equal the down bow in intensity and sustain). Also "rounding
of the corners" is the way to get continuity and legato flow. It's mainly to do
with a healthy wrist action... not too much wrist of course, as this can become
a circus act or trick unto itself... the wrist action is supple, subservient of
the forearm... just rounding off the hard corners of bow change... but really in
slow détaché it is surprising how firm the wrist must be and how sparing it is
used not to lose cohesion and contact with the string. Lastly, the Golden rule
in détaché... practice slow, then medium, then fast... if you go too fast, and
lose the qualities you built up in slow tempo go back, ease up on the speed, and
try to step up speed gradually, making sure the right hand loses none of its
abilities which took so long to build up in the slow tempos.
Other détaché studies to follow up are Study number 3 (even if applied to
some harder notes). Number 5 concentrates on détaché on 2 strings... a
well known technique, where the RH elbow must remain on a level in between the 2
strings in question. Make the levels shallow and close to each other.
Dont 35 n13 Vivace assai - A simple note détaché and mixed bowings study
One of the easier studies. Builds on the previous one, n2 so there is nothing
much to say about this beautiful détaché study, other than it contains three
notes slurred which must be concentrated into less bow than normal for the sake
of compactness, tempo and evenness. (The bow should sit in the middle and not be
displaced too far towards the tip by the three notes in the slur). That's an RH
(right hand) problem of course. Study it with even tone and equality, giving as
much generosity of sound to the up bows as the down bows. After you have studied
it slowly, only then gradually step up the tempo and add nuances such as accents
and crescendos. Always make the most of what bass notes you are given. Extract
the fullness and richness of the G and D strings, and exploit the transparency
of the A and E strings. There are some 10ths for the left hand to stretch, but
remember the structure of the 6ths upon which 10th are built (if one doesn't
understand this go back to Gavinees and ask a teacher... there's obviously some
basics which need filling in). This structure of the left hand in this manner
permits stretching equally up and down... the 4th finger only stretches up as
long as the first stretches down (the 2nd and 3rd fingers which play a 6th
interval in the middle of the hand form the core of the hand structure )... and
don't hold a stretch for long or you'll break your hand ! (or it will feel that
way).
However difficult the left hand becomes or may seem to you, remember a good bowing technique will help place all those notes neatly into place. Let the right hand dominate the left. That means you should be doing more work with your right than your left... your left should be deft, agile and light.... oh, and in tune for every single note goes without saying!
Dont 35 n17 Allegro - Many simple note slurred study
An easier study and a beautiful one for many notes in one bow legato. Of course
the sound must be as even as possible, perhaps adding nuances at a later stage.
My only note says most.. "LH position changes legato.
RH string changes must arch along.. often never stopping on any one string
level, but constantly migrating from one string to another, holding a sweet,
valid tone during the crossing. To sing during the crossing is the secret which
links notes to one another... notes on different strings must be heard as if they
are played on the same string... the previous note on the old string is held as the bow
narrows the gap between the strings... approaching and shifting onto the new
string not one moment before the previous note has been held on and is
reluctantly left alone, simply because a new note on the new string is now being
sounded. In short, NO gaps to be heard in between notes !!!! And that goes for
left hand shifts, and holding down of notes.
If my above analysis of a string change seems excessive, I can assure the reader
it is not.... for RH string crossing is one of the great fundamental bowing
skills to acquire. It is an essential ingredient to all violin music, especially
of the Romantic Period / kind. In one word smoothness / Legato (ok 2 words with
the same meaning !)
Dont 35 n7 Allegro Moderato "ben legato" : Another study in legato of
similar style. It looks like a nice study in legato slurring. It includes string
crossing. You can try 4x notes to a bow, (then 8 and maybe even 16 when you're a
pro). This was not included in my original study program, not because it is not
good, but because I had done so much of this in Kreutzer, Rode and Gavinees. I
have taught and practiced it since my student years. I like it plenty, though it
is obviously harder to maintain perfect legato when affronted with 10ths and
6ths in the construction of the left hand (even if the are broken 10ths they
must be played and placed prepared like a chord). So it is hard to keep the left
hand light and supple, so that the bowing can retain smoothness in string
crossing and suppleness in tone.
Dont Op 35 n6 Allegretto Scherzoso ; Fourth finger lifting action study
Note the tempo given by Dont... something light and joking... playful., not
heavy. It's a study all about the vertical mechanism of the 4th finger.... yes
that's also just called a "4th finger study". Now, most of this study is about
the instant lightning fast springy lifting action of the finger. All fingers
fall by gravity... we must never push our LH fingers down... we must rather, let
go, and they should fall (unless we're as stiff as a brick). Now what can really
develop and improve fingering is the lifting power of our fingers. 4th fingers
are weak, so this study is designed to strengthen it.. but not my brute force,
but by using its muscles to lift it quickly. This is the very purpose of this
study, in my IMC edition, this is quickly proved because the first variation of
the study is to play it left hand pizzicato !... yes, that would be a similar
mechanism to lifting the finger... but obviously the pizz. effect works slightly
more in the horizontal direction rather than the vertical, yet it is closely
linked to the vertical one.
Dont suggests here a double mordent.. naturally other variations can be
applied... some more, some less taxing to that poor 4th finger. Do rest it when
it starts to hurt.... for when you have gone that far... you then start to do
more damage than harm... now doesn't that sound bad; practice the violin and do
more harm than good ? Oh but it happens all the time... especially when we
haven't really been taught what is important and what is the right / elegant way
to do something. Nothing is achieved by brute force and stamina alone... and
this study illustrates that point to perfection... use lightness.. not just in
the fingering, but lightness in one hand hand suggest lightness to the other
hand.
The finger action, from that first large knuckle at the end of the hand must be
clear... and well articulated... raise the finger with a sudden spring, to bring
it to life ! I have written "Keep lift hand immobile, and use the power of the
little finger only in the movement". Use light 4th finger only action... (no
tension in wrist for example). And the last little tip for the right hand to
achieve this crispness in the double mordent is to have a small bow "bite".
Naturally, a small incisive attack can be just the impulse to set that left hand
finger in motion. Warning ! Don't overdo this study and kill your finger. A page
done well then a rest is better than pushing on with a tired hand !
Dont op 35 n4 Allegretto Scherzoso ; A preparatory study in light chords
Aha. Study this after the obligatory détaché and slurred studies (which always
compliment each other so nicely) mentioned previously. A super study in heel chords once more.
Lighter in nature than number one. I would do this study first. For each chord
place bow on string (do not throw the chord from off the string). Obviously the
left hand must have prepared the chord beforehand (see number 1 about
simultaneous LH preparation and not in the manner of a broken chord). Extract as
much bass in the sound as you can... but leave the treble (upper strings) light
and transparent in sound... not squashed. I have a tip which says "Don't stick
the Right elbow out.." and what this suggests to me (years after having written
it) is that the right arm must somehow remain compact and close to the string.
In this regard another note make sense.. use 1/3 of the bow... yes that's quite
a little amount ! "Wrist sinking with chord" was also mentioned in N.1 .. then
"not hard and unyielding" !... again warnings against harshness and hardness of
sounds...
There is a delightful middle section with 3 string ricochet... or off the bow
staccato (spiccato)... this should present no problem to the advanced student...
but all the same, it can be studied on the string with minimal bow to prepare
for the off the string technique. The problem's the up bow... play it long - or
short . ? Obviously long is difficult.. short, is probably right... but at least
try to not make it too short !! Sing it !
About the A string.. yes, that quaver on the A is held for the duration of the
two semiquavers on the E string. In summary, this etude is presenting chords in
a new manner. The lightness of the upper two strings is of vital importance, if
we are to maintain a lovely sound. I like the two melodic semis.. they encourage
us to sustain the tone and the melodic line... In line 3 after the pause (mine
is marked with a general pause sign) take the F not to literally.. still seek
out silky smooth fine tones...what a great new ingredient her... left hand
shifts in double stops at this point; from 3rd to 5th position ! A study
designed to make you master your instrument. I am very enthusiastic about this
study and it's value in mastering the lower 3rd of the bow !
Dont 35 n8 ; An advanced study in thirds
Look at this ... Wow! Obviously, a study in thirds is the first impression ! So
obviously many left hand problems here, but lets not forget the bow and the
legato effects which were studied and also belong to n7. We don't have as much
string crossing here for the bow... it's more like 2 flat double stop strings.
Left hand (LH) technique tips; The first finger, our strongest one, should learn
to relax the most...( I have written lighten the 1st finger like a Cellist's 1st
finger!) Not sure what that means, but obviously I had just seen Rostropovich or
something ! If you can lighten that one, then you're on your way to freeing up
the others. Double stop position changes are a permanent feature of this study..
the 1-3 fingers are kept down... while 2-4 are added and lifted ... yet the 1-3
stay down glued to the fingerboard. So, under no conditions, must you lift 1-3
while 2-4 are played.
The bowing can be divided into 4 notes per bow during the learning stages (or
even 2 notes !). Obviously, when your left hand has acquired flexibility and
strength then you can fit the whole bar of 8 notes per bow. It is better to do a
good job with 4 notes per bow first though, rather than mess up the sound,
scratching because of a stiff left hand (and consequently right hand). 3rd are
difficult...another note says "Keep LH deep within neck". That seems to suggest
good contact with the neck, but obviously very fluid and light. Left hand
fingers are ordered in strength.. our first finger is the strongest then the 2nd
then the 3rd and finally the little 4th. Now we must have more adhesion to the
fingerboard with our 12, then 2 then 3 then 4. If your 3&4th fingers are a bit
heavy, then think what damage and heaviness that makes the 1 and 2 become. Also
think, if you lighten your first finger, and that's the firmest one... then
think how much lighter everything else will become ! A great deal of lightness
will be needed by the left hand in order to play this whole etude in 3rds. There
are some important clearances that must be prepared by the left hand fingers...
for example a 4-2 double stop on the D-A string will require the 4th finger to
clear the A string in order for that A string not to squeak or whistle.
There is much work for a violinist in playing 3rds, but it is a very great
skill, and a very useful one in the art of double stopping. Much repertoire
contains skilful passages in 3rd. It's a huge asset to be able to play 3rds !
Dont 35 n9 Allegro ; An advanced study in chords, trills and slurs (fixed
position)
Chords, legato, string crossing, trills.. lots to do here ! Keep the chords
light RH, so they are not played aggressively, and match the volume of the three single stop
notes.. Again, we learn to use the lower half of the bow... it would be
ridiculous to tackle this etude in the upper half with the string crossing
problems it has ! A fundamental rule is that string crossing is less clumsy the
nearer we are to the heel. Try to draw your RH not quite in a straight line, but
in an opposite circle to the one we would make naturally if we did not bow
straight. This will require some healthy wrist action ; the tip should be away
from you at the heel, and as you approach the middle or tip of the bow, the heel
should be away from you. This encourages a flat bow, plenty of bow hair and
adhesion of the bow to the string. In the picture, imagine you are looking at
the strings from above... the over-corrective way to bow is using the opposite
curvature to ensure good a chord playing style in the RH.
I have a "Little finger pressure on bow" note at the beginning. On beat 2 of the
first bar I have "a tempo" written... obviously strict time is a bonus in
keeping the left hand disciplined. That was my first difficulty... so much to do
here, it helps to maintain strict tempo to perfection. It lightens and gets the
sluggish left hand fingers to spring into action. Before some of the chords I
have written "Fast "Jump to" action before chord... LH). Obviously this study is
quite advanced and builds on the elegance and style acquired in some of the
previous numbers. The tricky (stretch wise) chord of beat 2 of bar two can be
facilitated by a few things ; firstly, image, and play a stretch from the 1 to
the 4. This would be an octave and a semitone... that's not too wild a stretch,
and quite a possible one (yes the chord does not sound nice at this stage
because you will be playing D# A# and B (i.e. 1 1 4)... don't play or put the
2nd finger down, yet at this stage... try instead to keep 1 and 4 firmly
anchored on the fingerboard, keeping them firm with finger muscles alone.... now
once they are firmly established, add, very lightly the 2nd finger on the A
string (playing a B). Keep the 2nd finger light... much much lighter than the
first finger.... you can pull it back as close towards the first finger as
needed. The main frame of the hand must be the modest stretch between 1 and 4...
the 2nd finger is an "overlay". The main point is to secure a firm 1st finger
(as opposed to a firm 2nd finger!). Other LH postures contribute to an easier
stretch ; the knuckles of the LH must be lower than normal (like underneath the
level of the fingerboard). Also, the violin scroll shifted further out to the
left beyond the 45 degree position, so that the violin is closer to the LH helps
the hand to stretch because the fingerboard lies in a line which is more
parallel to the row of LH knuckles than if the violin was held straight out in
front of you (like the Viennese School of playing or like playing on the G
string, bringing the strings closer to the bowing arm). This makes the stretch
more efficient.
Another tiny marking, which looks like a small detail, but turns out to be a big
thing ! I'm talking about a little slur mark from the first choral semiquaver
note of the study to the second semiquaver. Actually there are two slurs as the
top two notes of the 3 part chord are held. It would be tempting to yank at that
first chord every bar... but no.. we must sing it and make it lead on to the
other 3 semis. So even the chords are marked staccato, with a dot (.) I would
not play them so... I would instead sustain them somewhat... this might be the
actual meaning of the dot. There is no doubt that the easy way of playing this
chord in an unskilful manner, chopped, would be so blatantly out of taste. The
chord must have some lightness, beauty and sustain.. and the closest it can come
to a staccato would be playing it in the manner of a closed or marked détaché.
Finally, with that last remark, try with just the bottom note of the chord to
get to the essence / heart of the music, and to reach the conclusion that the first note
has length, sustain, tonus and life ! Ah, but to to it.. now that's skill and
that's what this study challenges you to do ! Good luck!
Dont 35 n14 ; An advanced double-stop study
An excellent study. Beautiful writing to bring together double stops, slurs,
and position changes. The double stop position changes (shifts) must be very much connected.
All position changes in simple string pieces should be deft, smooth, somewhat
unhurried and very light and calm... easy, like a piece of cloth being blown
about in the wind. Do not break contact with the string with LH while you
shift... but do keep the finger very flat so it can glide smoothly and lightly
along the string to its new position. Now change all that into double stop fingering plus smooth
shifts and you have a challenge on your hand !! Yet that's what must be
accomplished here... and lightness is the essence... for any trace of heavy firm
fingering, and smooth position changes go out the window ! (in a bad way). I
have written a note... "Very legato LH"... yes... that refers to shifting !
Another note says "connected position changes".. that means following through
the position, not lifting up the LH fingers, and playing with very smooth light
left hand also encourages the transparency and suppleness of the RH. It's so
easy to destroy it all with excessive tension, fast tempi and demanding
notes.... for the reason Mr. Dont wrote a good tip himself.... p... (play
piano.. softly) for in no other way can these qualities be reached.
Now the day comes when one can play such a study with beauty, ease and
elegance... what to go for next ? Well power and volume, as long as they do not
degrade the beauty of tome, and just as importantly the effect of legato which
is at the heart of this etude !
There is plenty for both hands... string crossing for the right is a high task
to keep it singing, beautiful and above all smooth.
Dont 35 n18 Allegro Moderato ; An advanced double-stop study with legato and
shifting
Finally. To top it off, the best yet... in the category of the "has it all"
etude. A beautiful A minor double stop etude... not easy on small left hands to
get the C naturals (2nd finger on A) in tune. The LH must be flexible. If you
play this well that comes through.. if you struggle that gets lost.. and you
left hand will not feel flexible. The notes must slur into each other...
everything must be smooth and bow changes and RH string changes must all be
wonderful, and are all built on skills acquired during previous studies of
similar nature. This is an advanced study, and a beauty that will challenge us
with maximum left hand agility and lightness, yet to play with firmness of tome,
which is still sweet is the ultimate difficulty. And this time round Dont marks
it f for forte. (Yes there's a piano half way through, thank goodness, which
reminds us how we acquired such skills.) But a firm tone which still sings, and
slurs all 4 strings together in sweet double stops ! That's something.
Again, don't be afraid to beak it up into 2 notes per slur, as an intermediate
step . stage in learning this study. The Violinist who plays this well must be
very happy, and accomplished, for in some ways it has more substance of style
than Paganini's Caprices... (which are wonderful too, but somewhat lighter in
style). Okay maybe not quite, but the reader gets the idea, that educationally,
this Dont etude is pretty much at the summit.
One of my notes say "detect LH fingers that clamp down, and lighten them"; you
never know which chord or double stop is going to wrench your fingers to pieces,
so listen to your body / fingers... and take care of them. Be aware. Free you
left hand and your bowing and tone will free itself. RH on the string... firm
but with "cantabile refined tone" - these are notes that I have written after my
studies with top Russian teachers (pupils of Mikhail Vaimann)... I feel proud to
have satisfied my teacher with some good qualities by the time I knew and had
mastered these studies, and this one in particular. Probably since then there
have been many times when I have dropped out of form and would struggle again
playing this. But I have come back to it, over and over, searched again for the
feeling of supple, flexible, elastic joints and a singing tone... and eventually
I always get it back... get it once... and you've got it forever. You will never
forget the right feeling of beautiful technique and music making... the latter
just comes when the former is sorted (provided one is reasonably musical !).
So that's it. Not much insight on this study except to reiterate the Omni
present legato, sweet tone, connected, light, supple etc. mechanism which should
have built up by now. One word of warning, if the reader struggles with this
etude, back off and try something easier... for music which is too hard kills
good style and comfort in general... in fact, to build and improve one's style I
always find easier pieces and notes allow one to concentrate on their
performance and let their technique shine. A piece which is too hard murders
freedom and good bowing style.,. and that's a problem most students are not
sensible enough about. They tackle things which are too hard and do a poor job
on them,,, then they wonder why their technique is not taking off !!! Well,
always put common sense first... study Dont's Op35 in conjunction with easier
things... maybe in small doses of passages at a time. Never push the tendons,
muscles and stamina beyond the safety limits... and never force the fingers. In
number 18, the left hand just seizes up if forced... even forcing the bow will
harden the left hand, so keep thing in the right proportion. Right now I am in
form, I am learning some Concertos, like the Jules Conius, a few Viotti
Concerti, Prokofiev 2 etc.. but I haven't played this study in a while, and I
would not expect to do it all in one go... If I try it tomorrow and get tired
before the end... I stop ! Again, the best advice about DONT is don't !
Whenever a difficult left hand passage comes up (beat 1 of bar 3) I have written
ut reminding myself "flexible"... it's all about reminding myself that I need to
search for the best feelings and sensations all the time. It is not enough (by
far) to play the notes in tune and in time !!!
Dont 35 n1 Prelude - Bonus étude : Pure Chord technique
First thing about Dont is don't start with number 1 ! It's quite hard... start
with number 2 !!
My first tip, right on the stave, in red I have written "Simultaneous x3". This
refers to the left hand and that for each chord the fingers must be placed all
at the same instance on the fingerboard, like a guitar played preparing the
whole chord. The advantage in this is the more immediate memory of the chord...
the simplest and quickest left hand preparation being the pattern of the chord
placed flatly (with as much finger tip cushion rather than bone) and deftly in
one faultless pattern... the fingers in place over their respective string.
Without this firm and deft control involving the swift, instant preparation of
the chord the right hand can do nothing. The chord must be prepared perfectly
with the left hand, otherwise no matter how good your bowing is, you will not
succeed in a clear, successful & resonant chord ! Elsewhere I have written
"Simultaneous attack", and this also refers to the right hand, as the crisper
the rhythm and attack of the right hand, the faster the left will jump into
action and prepare the chord in ample time. There are some difficult chords
coming up, and the LH thumb and hand placement (the position and depth of the
violin neck placement within the U shaped "bath tub" between first finger and
thumb), and general hand posture are all at the service of the fingers; whatever
gets the job done and allows the fingers greatest freedom and ease of use goes.
The fingers have priority and the hand must support them in the most comfortable
way possible. Here's a nasty stretch for the first finger ; I would be cautious
against bringing the LH elbow out towards the right (arm), because although it
seems at first glance to favour the poor little finger on the D string, it puts
too much strain on the arm, and doesn't encourage the 4th finger to actively
grip its place on the fingerboard ! Sure, the 4th finger will have a lot of work
to do, and will not be coming from a high postition (with LH knuckles elevated
high above fingerboard) I get round this thinking of "melting" my hand into the
fingerboard.... bringing it close and low to the place where the 4th finger will
drop... bring the knuckles of the little finger as close as possible, and keep
the hand quite low... and the elbow to the left well under the violin, in order
to use the 4th finger to its maximum potential.... not the finger must work and
grip the fingerboard somewhat... but, and here's the secret... the finger, and
the finger only, must do all the work ! Below here is the passage with the B
flat stretch on the D string with the 4th finger ; it's nice when the 4th finger
B flat slides down to an A on the D string !
For the right hand I have written "sustain with the lower half of the bow." This
is a good technique, to be able to execute the chord and hold the sustain of the
chord with only the first half of the bow. This develops and amplifies your
powers of sustain. In this regard, I'd remind the reader that 3 note chords are
played sounding the lower two notes, then the upper two (obviously the middle
string will be included in each... this middle string must be totally even, and
unspoilt as the bow crosses strings and then holds the upper two notes.). The
study must be played with down bows only, from heel to middle... and later,
after this discipline has been attained with 2/3 of the bow, from heel to beyond
the middle. The advantage of not using the whole bow is that the retakes are
shorter in length, and therefore the overall sustain and un-interruption of the
sound is much improved. My IMC copy, incidentally, marks an alternative bowing
(all up bows, for every chord) and I don't see why successive Down / up bows
couldn't be a valid practise variation.
On the subject of variation, it is this which builds up a variety of right hand
skills. Playing the chord with utmost sweetness and only mezzo-piano in dynamics
will no doubt enhance the sensitivity and tonal beauty, as well as the healthy
wrist spring ever so important for the holding of a beautiful tone. Then the
study might be played through at a different tempo, perhaps playing forte, and
with a different length of bow. There are many combinations which can and must
be experimented with. Each particular sound you aim for must be consistent and
sustained throughout the study. In time, these different consistencies of right
hand wrist firmness or suppleness you try out will all accumulate and help out
the big picture, giving you slightly different sensations and aspects of the
chord.
More notes "Upper arm free in and out." This refers to letting the upper arm
move out in front of your body freely to reach the heel unhindered. The first
lower half of the bow is draw using mostly this free upper (from shoulder to
elbow) arm movement. From the bows' half way mark, the forearm will come into
play when drawing the bow. Also, concerning the right upper arm and elbow I have
jotted "don't raise it (as you approach the heel) and keep it glued to the
string.) Again, this recalls the concept of tonus and a beautiful tone.... (see
other articles on my site! "Tonus" is now a famous concept in making beautiful
sound).
In approaching the heel, the "wrist touch nose". This is another tip I have,
next to "Right hand (RH) fingers pointing directly into strings..." this refers
to a flat bow hold, especially at the heel, where the RH fingers are not slanted
on the stick, but can apply their full flexibility and weight into the string at
the heel. I should mention here the concept of "Place and draw".. an essential
ingredient in chord playing to place the bow on the string, before drawing the
sound... not to have that ugly crushing noise when attacking a chord on the fly
from off the string (though that is a useful technique to cultivate in itself -
more of the Moscow than the St Petersburg school though). Back to placing the
bow on the string at the heel; the tip must not point out of line behind one's
left ear. It must be parallel to the bridge at the heel, and a wise player,
looking for all the right action and suppleness of sound, will actually place
the tip towards the scroll, over-correcting, for the sake of drawing a slightly
opposite curve with the bow (than the curve or circle we would naturally make if
we draw the bow down without making use of our wrist.). I don't like to raise
the RH wrist much at the heel. However, I have another note; "It is refined to
let RH wrist sink into string (flex) slightly each down bow along with the
corridor by right elbow." This refers to the hand and elbow travelling in
parallel... perfectly together along a corridor during the first lower half of
the bow.
One important part of my chord technique that I haven't mentioned is about
string levels. The RH elbow is not raised in playing on any string as you come
to the heel (there are other schools (ie. some Hungarian) and differing thoughts
on this... I recently saw a video of Menuhin, in his mid-life, raising his RH
elbow on all his up bow chords as he neared the heel.... inefficient technique
by modern schooling standards). So for the A string for example, my R elbow is
always on the same plane or orbit. It is on the same level at the heel as it is
at the tip. This complete level is raised for the D string... and still even
more different for the other strings. This maintaining the same level as long as
you're on the same string means the RH wrist works horizontally more than
vertically, and also ties in with the fingers pointing straight into bow/strings
posture mentioned before.
There are many other subtle points to watch out for as you practise your chords.
Not all are mentioned here. But harshness is the enemy, and making these chords
sing is the number one concern, so beauty of tone and sweet chord playing is a
variation well worth perfecting, in order not to butcher this study from a tonal
point of view! So if you thought the left hand was hard; then think again... for
this is a right hand study !
Conclusion.
There aren't many I haven't had a go at by now... but my original program was 8
studies played really well.... culminating in number 18. It's nice to have this
"Bible" of studies, and to have one or two I don't know well yet.... (isn't it
amazing how impossible those seem? ). What becomes apparent is that good
schooling and method can make us overcome hurdles that initially seem
impossible. That's what these studies felt like when I started them (as a kid),
and now, I just re-apply all the independent little skills and disciplines that
have accumulated, and using technique built in that first run, and then refined
on each subsequent visit to these studies, I know I can master any one in a
short space of time. By technique I don't mean some skill or talent for playing
fast or many notes, but solid important Violinistic styles, that allow music to
flow and sing, and allow one to breathe and enjoy the manual process of making
music. In a short space of time, by writing this I have tried to put across what
personal feelings and experiences I went through myself studying Dont's Op.35 :
I will always remember how pleased my teacher was (a very hard man to satisfy,
he would scorn many a violinist, famous or not!) when I played number 18 well,
and the satisfaction, as a student, gained in having mastered what really felt
like some truly amazing technique ! These studies have been an indispensible
part of my formation (probably worth far less without the guidance of a good
teacher pointing out what to search for)....anyway, my next task was a
different, lighter style altogether. A style of velocity and magic ;
Wieniawski's Op 10 Ecole Moderne !
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