Mazas Book 1 Study n23 in E flat Major
This is it : This is the highlight of book 1, and what a masterpiece it is ! What elegance in the up bow staccato writing ! This is a special study. ( Études Spéciales ) What a comprehensive study, designed to refine many aspects of one's playing ! The sonority of this study must be light, though the rhythm must be so clear .... almost march like !
Always practise in phrases ; play the following over and over, each time improving the quality of sound and playing. Refine again and again ! Use 80 percent of the bow on the first bar quavers. This is on the bow staccato - stopping the bow in between the notes. Do not hurry the tempo - each note shall have a beautiful sound, and one might almost hear the silence in between the notes ! The 5 up bow staccato notes should be played leaving the string as little as possible ; indeed only in a fast tempo would they be played "volante" so keep the bow on the string for the attack of the note, and lighten and lift it using your horizontal movements of the forearm to produce a light "French" staccato. The trill will ensure you use your left hand finger mechanism in a light agile fashion too. Be rhythmic, almost using an accent with the bow to add sparkle and clarity to the trill. Master this first phrase to deepen your knowledge of the whole study... oh... don't forget to play by heart all the time. You will never automate your technique if you sight read each rendition !
Below : Please note that the following passage is in 3rd position. The 1st finger must be anchored on an A ( an octave above open A makes it easy to check ). Note how little one has to stretch that 4th finger to reach the Eflat.
Below : I know it says Forte, but lighten your bow pressure not too overburden these double stops and use plenty of broad sweeping bow ( lean more on the lower string - not the E string, otherwise it will sound squeaky and harsh ). Don't misinterpret the dots - these are long notes on the string - make the gap in between ( on the string staccato ) as short as possible almost. It should be a sonorous passage.
Below : Mazas knows what legato means, that's why he marks this dolce. Make sure the semitones are close so that they become expressive - wishing to resolve all the time. Use the bow ever so evenly, and do not ruin this phrase trying to colour it and add nuance or portamento to every note. Play it plainly, and beautifully, without distortion and your violin will sing as never before !!!! Distribute the bow along its length ! This is great fingering by Galamian as it changes on the beat.
Below : The octave passages. You will need to have some octave expertise to solve these passages. Don't tire your hand by keeping the octave formation for hours on end as you repeat the same phrase over and over. Always lean a little more with the anchor finger ( why the 1st of course ) rather than the 4th. The hand will feel better, and play more in tune by keeping the 4th lighter...besides thinking about the pressure of the fingers will in itself heighten the sensitivity in the finger tips. Do not raise the non-playing 2nd and 3rd fingers high above the fingerboard, as this will put unnecessary strain on the whole hand ! A good beginner's way to tackle octaves is to play the first two notes slurred in a down bow, and then play them together (double stopped ) in an up bow. Do it slowly....no I said slowly....slow down ! Sing with the bow, even if the left hand is in slow motion , the bow must still flow ! You may also practise octaves in such a way that the shift is played as a slur, to ensure smooth changing of position.
Conclusion : There you have it : The main elements of this study. Also practise passages in a cyclic fashion, repeating to the beginning of that phrase you are trying to perfect, without interruption. Mark the all the passages you want to perfect or improve in square brackets, and include bowing markings if it is not obvious if it starts with a down bow or an up bow. This way you will automate - and program your hands ! NEVER muddle your bowings ( because you will confuse your body... and eventually your brain.. ) and never rush. Keeping the tempo steady is the single most important piece of advice I could give ! Note the Tempo marking by Mazas ; he knew we'd all rush ! Once your slow tempo is solid, go for the faster, lighter, smoother and more elegant Allegretto. Fix the passages one by one, then assemble them together to build the whole étude. DO all this and do it by heart.
If the person who emailed the request for these study notes has specific questions : email them and I'll update the article !