No. 15.
You will observe that the older composers of technical works used easy keys. They themselves were players of the violin, and knew how to write in a violinistic manner. You will also observe that two methods of playing this étude are indicated. As a special daily exercise, in connection with this étude, I would suggest Sevcik’s 4,000 Bowings, Op. 2, Part 2, Sections III and IV, two and three string transfers. After playing these exercises for an hour, including the Halir legato studies, pages 1 to 4, Tonleiterstudien, the wrist and forearm are supple for the daily work, while the left hand falls easily into line. In all technical work the left hand must be trained to anticipate the bow-arm. More depends upon the left hand than upon the bow-arm, hence the necessity of strong fingers and an ample technic.
Allegro is an elastic term in the classic études. Play slowly and without stumbling until you master the content of the work, then increase the tempo. The preferred method of playing this étude is the lower one. Play in the upper third of the bow, not forte, at first, until freedom of the bow-arm is assured. A lateral stroke of the wrist is not necessary. The wrist should be flexible and free, however. Play a smooth, running stroke, for a pronounced staccato is likely to make the muscles of the fingers and wrist rigid, unless one has perfect command of the bow-arm and hand. The student should train himself to read ahead of the measure he is playing. Place all the fingers in position at once, whether a new position is to be taught or not. A prevailing tendency in this work is to play with a stiff arm and to use too rapid a tempo. That is not wise. Play slowly until freedom is assured. The sequence of positions should not trouble the player. String-transfers should be made on the edge of the hair, or as nearly so as possible, and there should be no “tilting” of the bow from the outer edge to the middle and then to the inner edge of the hair. Keep the forearm high enough so that the bow lies easily on two strings. Always anticipate string-transfers by practicing arpeggios on four strings, with the entire arm well arched and no break in the curve. While many short string-transfers, especially at or near the point of the bow, require only the use of the wrist, there is an almost perceptible movement of the arm from the shoulder, so that the curve described on the strings may be easy and graceful. This is one of the most important things in connection with the obtaining of a beautiful legato. A study of my Three Octave Scales,[12] with varied bowings, in the upper half of the bow, should be carried on during the entire study of Kreutzer and Fiorillo. Note the difficulty of easy string-transfers in the sixth measure. These are very treacherous, if one has not mastered the two suggested bowings in the first five lines. Now, let us take the passage slowly near the point of the bow, the first note being played lightly staccato, and the next two slurred notes staccato on the up bow. Do not jerk the first note of the group of three. Sometimes teachers prefer to use single detached bowings throughout the exercise. That is not desirable; in fact, all students of this work should have a thorough knowledge of positions. I do not believe in the practice of many and varied bowings in connection with Fiorillo. We have practically fixed the fundamental bowings in the first twelve Kreutzer études. At present many teachers are using the Sevcik 4,000 Bowing Studies, and carefully teaching Mazas’ Études Brilliantes.[13] Sitt and Dont must inevitably aid in the mastery of bowings, as well as of position work. There is so much to learn from standard Concertos that it seems unwise, in our busy American life, to burden the student with too many études. If he can learn the great principles of violin playing from well-known works, or a few well-chosen études, he has time for the study of legitimate classics. The entire Sevcik plan is too extensive and impractical for American violin study; nevertheless, the most progressive teachers are adapting Sevcik to the needs of their pupils. We cannot teach as Sevcik teaches; our entire conditions of life are at variance with European conditions. If the preparatory work for Fiorillo is well done, we may be sure that the student will progress rapidly, and there will be no need of the introduction of many and varied forms of bowing at this point. Review with the flying staccato in the lower half of the bow, also at the middle of the bow spiccato.
Play the following measures at the point of the bow:
