A PEDAGOGICAL STUDY OF SELECTED INTERMEDIATE VIOLIN PIECES

by
CARLE DOUGLAS DU6UID, B.Ed., M.Ed.
A DISSERTATION
IN
FINE ARTS

Submitted to the Graduate Faculty

of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of
DOCTOR OF PHILOSOPHY

Approved

August, 1988
^ 0

Copyright
1988
Carle Douglas Duguid
 ACKNOWLEDGEMENTS

I wish to thank my advisor, Dr. James Barber, for

his excellent advice and for his support and encouragement
throughout my studies. I wish to thank Dr. Donald Tanner
for his suggestions, patience and understanding during
the writing of this dissertation, and express my gratitude
to Dr. George Sorenson, Dr. Virginia Kellogg and Dr.
Frances Williams Scott for their insightful and helpful
comments and assistance.

I wish to express my appreciation to The Western

Board of Music for allowing me access to their files,
and to Ms. Joan Barrett, Dr. Francis Chaplin, Dr. Howard
Leyton-Brown, Mr. Ranald Shean, Ms. Mary Shortt, and
Mr. Carlisle Wilson for analyzing the selected
pieces and commenting on their examination experiences.
Special recognition is due my family--my wife
Elizabeth Ann Duguid, my parents Scot and Marguerite
Duguid, and my children Christopher and Jennifer. Without
their continued support, encouragement and patience this
dissertation would not have been written.

11
 TABLE OF CONTENTS

ACKNOWLEDGEMENTS ii

ABSTRACT v

LIST OF FIGURES vii

LIST OF EXAMPLES viii

LIST OF PRELIMINARY EXERCISES xiii

LIST OF ABBREVIATIONS xvi

I. INTRODUCTION 1

Background for the Study 1

The Western Board of Music 2

Need for the Study 12

Purpose of the Study 14

Definitions 16

Limitations 21

Notes 22

II. REVIEW OF THE RELATED LITERATURE 23

Pedagogy 23

Syllabi 70

Summary 76

Notes 78

III. SELECTION OF PIECES AND SKILLS 80

Selection of Pieces 80

Selection of Skills 87

Summary 90

Notes 91

111
 IV. ANALYSIS OF PIECES
SELECTION OF STUDIES AND EXERCISES .... 92

Summary of Beginning Skills 93

Grade Four Skills 95

Grade Five Skills 128

Grade Six Skills 160

Grade Seven Skills 196
Notes 224
V. SUMMARY AND RECOMMENDATIONS 225
Summary 225
Recommendations 228
SOURCES CONSULTED 231
APPENDICES
A. WESTERN BOARD OF MUSIC
EXAMINATION ENTRY FORM 239
B. WESTERN BOARD OF MUSIC
1987 ALBERTA AWARDS 240
C. REQUIRED LEFT HAND SKILLS
LISTED BY PIECE 252
D. REQUIRED RIGHT HAND SKILLS
LISTED BY PIECE 256
E. REQUIRED INTERPRETIVE SKILLS
LISTED BY PIECE 260
F. ETUDES CONTAINING PASSAGES
WITH REQUIRED SKILLS 261
G. SELECTED PIECES 270

IV
 ABSTRACT

This dissertation provides the violin teacher with

suggestions and ideas for helping private violin

students acquire and develop the technical and interpre-

tive expertise required by selected solo pieces at the

intermediate level. It involves the analysis of the

skills necessary for the successful performance of twelve

intermediate level violin pieces selected from the syl-

labus of The Western Board of Music, which operates in

western Canada. Intermediate level is defined by refer-

ence to five current syllabi. Most students of Junior

High School and Senior High School age are at the inter-

mediate level. The twelve selected pieces are those

chosen most frequently for performance on Western Board

of Music intermediate level violin examinations in the

past decade. The violin syllabus of The Western Board

of Music provides an appropriate resource for choosing

repertoire, since it is used by the majority of violin

teachers in western Canada and is available to most violin

teachers.

Pedagogues' comments on the required skills are

reviewed, and published etude material is suggested that

provides practice in each skill. Short preview exercises,

sixty-one in total, are provided where the published

material is either inappropriate or nonexistent.

 The dissertation provides appropriate pedagogical

resources for the teacher of the intermediate violin

student through the discussion of eighty-three examples

taken from the selected pieces. Recommendations for

further research and action are made. As well, the

history of The Western Board of Music is summarized and

its current operations are described. Appendices include

required skills listed by piece, required skills contained

within standard intermediate level "^tude material and

the complete selected pieces from which examples are taken

in the dissertation.

VI
 LIST OF FIGURES

1. The Western Board of Music Local Centers 5

2. Violin Examinations General Information and

Scale of Marking 9
3. Grade Five Violin Examination Requirements ... 10
4. Fingering Chart of Position Changes
on One String 33
5. Number of Grades and Certificate
Requirements of Five Music Systems 71
6. Expected Skills at Completion of
Beginning Level 81
7. Levels of Violin Instruction
in Five Music Syllabi 83
8. Frequency of Performance--Grade Four WB
Examination Pieces 1978 to Present 84
9. Frequency of Performance--Grade Five WB
Examination Pieces 1978 to Present 85
10. Frequency of Performance--Grade Six WB
Examination Pieces 1978 to Present 85
11. Frequency of Performance--Grade Seven WB
Examination Pieces 1978 to Present 86
12. Pieces Chosen for Analysis 86
13. Required Skills--Grade Four Pieces 88
14. Required Skills--Grade Five Pieces 88
15. Required Skills--Grade Six Pieces 89
16. Required Skills--Grade Seven Pieces 89

vii
 LIST OF EXAMPLES

1. 0. Rieding. Rondo, measures 9-11 96

2. 0. Rieding. Rondo, measures 52-54 97

3. Anonymous. Brother James' Air, measures 8-10 99

4. Anonymous. Brother James* Air.

measures 18-20 101
5. G. P. Telemann. Suite in G
Bourree, measure 1 102
6. Anonymous. Brother James' Air.
measures 37-39 104
7. G. P. Telemann. Suite in G
Rigaudon, measures 12-13 105
8. Anonymous. Brother James' Air, measure 20 ... 106
9. G. P. Telemann. Suite in G
Bourree, measures 11-12 108
10. G. P. Telemann. Suite in G
Loure, measures 3-4 109
11. G.P. Telemann. Suite in G
X
Bourree, measures 17-18 110
12. 0. Rieding. Rondo. measure 21 112
13. Anonymous. Brother James' Air, measure 36 .. 114
14. H. Kayser. Elementary and Progressive
Studies. . No. 7 115

15. 0. Rieding. Rondo, measures 19-20 115

16. Anonymous. Brother James' Air,

measures 21-25 117

17. 0. Rieding. Rondo, measures 15-18 118

18. G. P. Telemann. Suite in G.

Loure, measures 2, 6 119
19. Anonymous. Brother James' Air, measure 30 .. 121

Vlll
20. G. P. Telemann. Suite in G

20A - Rigaudon, measures 13-14 123

20B - Gigue, measure 9 123
20C - Loure, measure 7 123

21. 0. Rieding. Rondo, measure 102 124

22. Anonymous. Brother James* Air.

measures 1-5 125

23. Anonymous. Brother James' Air.

measures 16-17 126

24. 0. Rieding. Rondo, measures 3-5 127

25. 0. Rieding. Air Varie. measures 5-9 129

26. 0. Rieding. Air Varie. measures 69-70 130

27. 0. Rieding. Air Varie. measures 83-84 131

28. R. Jaque. Daussila. measures 10-13 134

29. 0. Rieding. Air Varie. measures 11-12 135

30. R. Jaque. Daussila. measures 25-27 135

31. 0. Rieding. Air Varie. measures 55-56 137

32. J. S. Bach. Giguetta. measures 1-2 139

33. 0. Rieding. Air Varie. measure 41 140

34. R. Jaque. Daussila. measures 9-11 142

35. 0. Rieding. Air Varie.

measures 69-70, 107 144

36. 0. Rieding. Air Varie. measure 33 145

37. J. S. Bach. Giguetta. measure 17 146

38. J. S. Bach. Giguetta. measures 20-24 148

39. 0. Rieding. Air Vari^. measures 61-62 149

40. J. S. Bach. Giguetta.

40A measures 3-4 151

40B measure 8 151

41. 0. Rieding. Air Varie. measures 111 - 112 . 152

ix
42. 0. Rieding. Air Varie. measure 44 154

43. 0. Rieding. Air Varie. measure 82 156

44. R. Jaque. Daussila. measures 1-2 157

45. R. Jaque. Daussila. measures 1-6 158

46. J. S. Bach. Giguetta. measures 9-10 159

47. F. Fiocco. La L^g^re. measures 50-54 160

48. F. Fiocco. La Legere. measures 62-63 163

49. F. Fiocco. La L^g^re. measures 1-2 165

50. F. Seitz. Concerto No. 2,

1st movement, measure 83 167
51. F. Seitz. Concerto No. 2,
3rd movement, measures 84-87 170
52. F. Seitz. Concerto No. 2.
1st movement, measures 11-14 173
53. F. Fiocco. La Legere, measures 22-23 175
54. F. Fiocco. La Legere. measure 55 178
55. F. Seitz. Concerto No. 2.
1st movement, measure 28 178
56. L. van Beethoven. Minuet in G.
measures 17-18 179
57. F. Seitz. Concerto No. 2,
1st movement, measure 38 181
58. F. Seitz. Concerto No. 2.
1st movement, measure 42 182
59. F. Seitz. Concerto No. 2.
1st movement, measures 43-44 183

60. L. van Beethoven. Minuet in G, measure 1 .. 184

61. F. Seitz. Concerto No. 2.

1st movement, measures 15-18 186
62. F. Seitz. Concerto No. 2.
3rd movement, measures 8-10 187
63. F. Seitz. Concerto No. 2.
1st movement, measure 28 188
64. F. Seitz. Concerto No. 2.
2nd movement, measure 22 191
65. F. Seitz. Concerto No. 2.
3rd movement, measures 72-73 192
66. F. Seitz. Concerto No. 2.
1st movement, measure 79 193
67. L. van Beethoven. Minuet in G.
measures 12-13 195
68. J. P. Senaille. Allegro Spiritoso.
measures 49-51 198
69. J. P. Senaille. Allegro Spiritoso.
measures 42-44 200
70. T. Arne. Sonata in B flat, measures 5-7 ... 200
71. B. Bartok. Evening in the Village
71A measures 1-2 205
71B measures 21-22 205
71C measures 42-44 205
72. J. P. Senaille. Allegro Spiritoso.
measures 22-23 206
73. T. Arne. Sonata in B flat
Gavotte, measures 10-12 207
74. J.P. Senaill^. Allegro Spiritoso,
measures 13-16 209
75. T. Arne. Sonata in B flat
Gavotte, measures 1-4 210
76. B. Bartok. Evening in the Village,
measures 1-4 211
77. T. Arne. Sonata in B flat,
measures 9, 23 212
78. J. P. Senaille. Allegro Spiritoso,
measures 3, 17, 52 213
79. J. P. Senaille. Allegro Spiritoso,
measures 1-4 216

XI
80. B. Bartok. Evening in the Village.
measure 38 218
81. B. Bartok. Evening in the Village,
measures 19-21 219
82. B. Bartok. Evening in the Village,
measures 10-11 220
83. J.P. Senaille. Allegro Spiritoso,
measures 92-93 222

Xll
 LIST OF PRELIMINARY EXERCISES

1. Finger Preparation--Upper to Lower String .. 97

2. Finger Preparation—Lower to Higher String .. 98

3. Finger Preparation--0pen Strings 100

4. Finger Preparation—Fourth Finger 101

5. Finger Preparation--Double Stop 102

6. Shifting—Different Strings 104

7. Shifting—Different Fingers 106

8. Downward Shift—Different Fingers 107

9. Mordent and Trill 109
10. Irregular Placing of Finger Ill
11. Legato String Crossing on a Slur
Upper String to Lower String 113
12. Legato String Crossing on a Slur
Lower String to Upper String 114
13. Up-bow Accent 116
14. Bow Distribution and Contact Point 118
15. Bow Distribution Rhythm 120
16. The Portato 122
17. Change in Finger Placement 124
18. Finger Preparation—Melodic Passages 130
19. Finger Preparation--Broken Chords 131
20. Finger Preparation—Stopped Chords 132
21. Shifting—Same Finger 134
22. Shifting—Replacement Finger 136

23. Shifting—Open String 137

24. Finger Facility 139

xiii
25. Harmonic 141

26. Legato Crossing with Crescendo 143

27. Legato String Crossing—Broken Chords 145

28. Accents 146

29. Successive Accents 147

30. Contact Point and Speed 149

31. Contact Point—Dynamic Changes 150

32. Bow Distribution--Changing Speed 151

33. Chords 153

34. Combination Skill 154

35. Finger Preparation—Placement 157

36. Finger Preparation—Varied Double Stops ... 161

37. Finger Facility—Triplets 164

38. Continuous Double Stops 167

39. Spiccato 171

40. Contact Point—Distribution 174

41. Legato String Crossings--Continuous Duplets 176

42. Down-bow and Up-bow Portato 178

43. The Flying Staccato 180

44. From Slurring to Spiccato 181

45. Double Stopped Chords 183

46. Finger Accents 185

47. Stylistic Articulation 188

48. The Cadenza 189

49. Rhythm—Finger Placement 193

50. The Trill 194

xiv
51. Shifting on One String 201

52. Combination Skill — Finger Flexibility 207

53. Combination Skill—Motive Repetition 208

54. Baroque Style 209

55. Rubato 211

56. Ornaments 212

57. Realization of Ornaments 214

58. Pizzicato Chords 218

59. Entry after a Rest--New Position 219

60. Changing Bow Technique 221

61. Final Chord 222

XV
 LIST OF ABBREVIATIONS

Abbreviation Meaning

ASTA American String Teachers Association

har harmonic

L H lower half of the bow

M or Mid middle of the the bow

m. measure

mvt. movement
N at the nut of the bow
op. or Op. opus
RCMT Royal Conservatory of Music at the
University of Toronto
SVS Suzuki Violin School
U H upper half of the bow
UIL University Interscholastic League
State of Texas
WB Western Board of Music
western Canada

xvi
 CHAPTER I

INTRODUCTION

Background for the Study

For centuries, almost from its appearance in the

fifteenth century, the violin has been the pre-eminent

bowed stringed instrument. It became and remains popular

because, of all the musical instruments, its expressive

quality most resembles that of the human singing voice.

As its popularity increased and its virtuosic potential

evolved, a demand for instruction was produced. The

result was the appearance of method books in the

seventeenth century, followed by the appearance of

"systems" or schools of violin study and lists of

repertoire and technical materials.

The twentieth century has seen the appearance of

books on pedagogy, designed to help the violin teacher

provide competent private instruction through suggestions

on teaching procedures and methods. In addition to

employing sound teaching methodology, it is a teacher's

responsibility to select repertoire that is not only

musically interesting and technically challenging but

also that provides sequential improvement of required

skills. The selection of such repertoire has been made

easier by the publishing of graded lists, or syllabi of

pieces and studies by organizations in various countries.

In western Canada, the predominant organization involved

1
in the preparation of such syllabi through an examination

system is The Western Board of Music.

The Western Board of Music

A Brief History

By the end of the second decade in the twentieth

century there were a number of organizations operating

in western Canada offering examinations in a variety of

orchestral instruments, piano and voice. Typically, these

bodies established a syllabus which was to be taught

through private studies and offered certificates through

examinations conducted by approved examiners in authorized

centers throughout western Canada. Most of these exam-

ining bodies were centered in central Canada (The Royal

Conservatory of Music in Toronto) or overseas (Associated

Board in London).

Two situations regarding the overall examination

scene were creating widespread concern by 1917. One

was that private music studies received no recognition

by the provincial Departments of Education, and there-

fore, no credit was given to students for their music

study. In 1919, an important step was taken to resolve

this shortcoming when music teachers in Manitoba persuaded

the Manitoba Department of Education to recognize private

music studies by granting music options in junior and

senior high schools of the province through an authorized

syllabus of examinations (Syllabus No. 2, 1983, p. v i i ) .

 The second difficulty was a perception of unreason-

able standards imposed from outside the region coupled

with an unwillingness to listen to western Canadian con-

cerns on the part of the aforementioned organizations.

The standards of performance and repertoire established

by the "outside" organizations were seen as not being

practical for many western Canadian students, who did not

have access to the many enriching experiences available

in central Canada and Europe. In addition, even though

competent "local" western Canadian musicians were avail-

able, all the examiners for the organizations came from

outside western Canada. As a result of continued concern

in this regard, a meeting in Regina, Saskatchewan, of

representatives of the universities in the three prairie

provinces (Manitoba, Saskatchewan, and Alberta) and their

respective Departments of Education in 1934 "approved

in principle the setting up of a uniform standard of

music options and music tests" for the three provinces

(Syllabus No. 2, 1983, p. vii). A board to administer

the scheme was set up known as "The Joint Music Board

for Western Canada." A syllabus committee was formed

at the same meeting.

Two years later, in 1936, "The Western Board of

Music" was formed at a subsequent meeting, also held in

Regina. This pivotal meeting took a number of major

steps. It approved standards of attainment recommended

by the previously mentioned syllabus committee. It

established a fee schedule for examinations and authorized

the preparation of common theory examinations. Finally,

it established the Associate and Licentiate diplomas,

and authorized the use of the abbreviations A.Mus. and

L.Mus. followed by the name of the appropriate province

(Syllabus No. 2, 1983, p. vii). This structure continues

to serve the organization well.

During the 1940s, a number of significant advances

were made. All three prairie provinces accepted Western

Board music examinations for high school credit. The

common theory examinations became a reality, and graded

theory papers were returned to candidates. Work was

completed on a common syllabus for all three provinces,

and common books of graded piano pieces were published.

Finally, February practical examinations were introduced

in addition to the previously common June dates.

Revisions of the syllabus have appeared in 1957,

1960, 1964, 1968, 1972, 1978, and 1983. The syllabus

has expanded from a one-volume publication providing

examinations in piano, violin and voice to a three-volume

issue covering all major instruments and voice.

Recently, examinations have been offered in the prov-

ince of British Columbia in addition to the three prairie

provinces. Figure 1 shows the local centers in western

Canada where examinations are currently offered.

Operations

Since 1973 The Western Board of Music has been served

by a full-time administrative director and staff central-
ized at The University of Alberta in Edmonton. The
central office handles all the clerical functions of the
Western Board, as well as providing and receiving
candidates' entry forms (see Appendix A), scheduling
examinations in authorized local centers, arranging for
examiners and secretaries to administer the examinations,
coordinating the updating and distribution of the syllabi,
finding and confirming the award and prize donations,
notifying recipients of prizes and awards, arranging
annual awards concerts, and supplying results of examina-
tions and awards to candidates and the news media.

Theory Examinations

System-wide theory examinations, prepared by a

university faculty member, are held on common dates in

January and May of each year in local centers (see Figure

1 on page 5 ) . The theory examinations consist of one

or more written papers with Rudiments, Music History,

Harmony, Form and Analysis and Aural Musicianship as

subjects. A candidate must pass the Theory Examination(s)

specified for his/her practical examination grade level

to receive a certificate for that grade, as noted in

Table 1.
Table 1: Theory Examination Required for
Practical Examination Certificate

Practical Grade Theory Grade(s) Subject(s)

Required

1 through 4 none
5 1 ( 1 paper) Rudiments
6 2 ( 1 paper) Rudiments
7 3 ( 1 paper) Rudiments
8 4 ( 1 paper) Rudiments
9 5 (2 papers) Harmony
Jr. Aural
Musicianship
10 6 (4 papers) Harmony
Music History
Form and Analysis
Intermediate Aural
Musicianship

11, 12 7 (3 papers) Music History

Form and Analysis
Senior Aural
Musicianship

Grade 4 Theory is a prerequisite for grades 9 to 12.

Grade 5 Theory is a prerequisite for grades 10 to 12.

Grade 6 Theory is a prerequisite for grades 11 and 12.

Practical Examinations
Practical examinations are scheduled in local centers

each February and June according to the number of entries

for each instrument and the availability of qualified

examiners.
 8

Examiners are chosen from the music faculty of the

prairie universities and colleges as well as prominent

private music teachers. An examiner may not serve in

his/her home town, and an effort is made to avoid con-

secutive appearances of the same examiner in any center.

Each practical examination requires the performance of

three to five pieces, two studies, scales and arpeggios,

ear tests, and sight reading as well as the answering

of questions designed to test the candidate's knowledge

of composers, style, and musical terms and symbols. Up

to a total of one hundred marks may be awarded, with

the majority being given for accuracy of performance

and musicianship. General information on the violin

practical examinations and the scale of marking for each

grade is shown in Figure 2. The practical examination

system advances through twelve levels of study--grades

one to ten, the Associate Diploma and the Licentiate

Diploma. For each grade level, the syllabus indicates

the specific scales and arpeggios required, presents a

list of studies from which two must be chosen to perform,

and presents a list of pieces, three to five of which

are to be performed. One piece may be substituted in

place of a listed piece for inclusion in any examination.

Written approval is required, unless the substituted

piece is from the next higher grade level. The Grade

Five listing is shown in Figure 3.

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Following the completion of each examination,

examiners write comments and assign a mark. One copy of

the comment sheet, with the assigned mark is sent to

each candidate. Another copy remains in the central

office in Edmonton. Successful candidates names, listed

by instrument or theory level and the category (pass,

honours, first class honours) are published in local news-

papers. Only candidates who exhibit a high level of

expertise can be recommended for an award or a prize.

\ great deal of effort is spent by The Western Board

of Music to obtain scholarships, bursaries and prizes

for deserving candidates. These awards are gathered on

a local and provincial basis, awarded on a provincial

basis, and presented at special awards concerts held

each fall at various centers in each province. Appendix

B lists the awards as of 1987 for the Province of Alberta.

The high standard needed to complete successfully each

level in its graded system has limited the number of

award recipients to the very deserving.

The affairs of The Western Board of Music are still

governed by professional representatives from the prairie

universities reinforced by representation from the Regis-

tered Music Teachers in each province. As the system

expands into British Columbia, efforts are being made

to establish representation from the universities and

music teachers in that province as well.

 12
The Western Board of Music has promoted musical
growth in western Canadian society and is a major force
in the cultural activities of western Canada. Its cri-
teria have resulted in a high level of musical excellence
for the thousands of students who are guided by its syl-
labi each year, demonstrating that "every effort is made
to assist students in their pursuit of music either as
a career or as a cultural enrichment through a practical,
timely, and challenging music examination system" (Syl-
labus No. 2, 1983, p. vii).

Need for the Study

Carl Flesch's two volumes on The Art of Violin Play-

ing (Flesch, 1939) set a high standard for a considerable

number of books written by great violin teachers and

players on violin pedagogy in this century. Their point

of departure in terms of repertoire is the wealth of

material available for the concert violinist or the

advanced amateur player. Thus, the vast majority of

examples given and discussed are from the concert reper-

toire--that repertoire performed by the concert artists

and advanced amateur players in this century. The

majority of periodical articles also deal with material

performed by players at an advanced level. There are also

a great many books and articles dealing with beginners,

no doubt inspired by the exemplary work of, among others,

Shinichi Suzuki, Paul Rolland and Samuel Applebaum. In

 13

addition to books and articles, films and video tapes

are available showing teaching concepts for beginning

violin students. Such material numbers in the hundreds.

A gap of four to five years of instruction exists

between the time that a student has completed the begin-

ning level of instruction and the time he/she is ready

to perform the repertoire of the advanced level. This

is a transitional stage, called the intermediate level,

and is the primary focus of this study.

Although a considerable body of technique must be

developed at the intermediate level, and appropriate

repertoire is available in print, few pedagogical

resources are available for the teacher of the inter-

mediate student. Neither the step-by-step method books

available for the teacher of the beginning student nor

the specialized discussions of concert repertoire and

technique available for the teacher of the advanced stu-

dent are at hand for the teacher of the intermediate

student. He/She has only the graded lists such as those

provided by The Western Board of Music. None of these

syllabi, however, contains a list of required techniques

or information on appropriate pedagogical methods for

the instruction of students. Nevertheless, the inter-

mediate level is a critical stage for developing technique

and musicianship. Students should refine a number of

beginning level techniques, develop new left hand and

 14
right hand techniques, evolve a system of working out
difficult spots in repertoire, learn about the different
musical eras and styles, and begin to consider stylistic
interpretation of pieces. In particular, the intermediate
student should acquire the capability to execute vibrato,
shifts, harmonics and double stops with the left hand
and staccato, martel*^, spiccato, and moderately complex
string crossings with the right hand. In addition, the
musical and stylistic attributes of all repertoire studied
must be given thorough attention by the student. The
rate of progress at the intermediate level should be
gradual and systematic. It is important that the student
enjoy playing the violin and be encouraged to continue
to develop his/her musical ability.

To achieve this end, deficiencies in students'

technique should be carefully diagnosed and appropriate
repertoire chosen to assist the student in overcoming
violinistic shortcomings. The use of attractive material
and the systematic approach suggested by this study will
contribute much to a lessening of the frustration that
is often the earmark of intermediate instruction.

Purpose of the Study

This study is intended to provide teachers with a

selected list of intermediate techniques along with peda-

gogical suggestions appropriate for their instruction.

To do this the following steps have been taken:

 15

1. Intermediate level has been determined by

surveying a panel of experts composed of two Western

Board of Music examiners from each prairie province and

by comparing intermediate designations in other graded

lists.

2. The pieces to be analyzed have been determined

by examining Western Board of Music violin candidates'

entry sheets from 1978 to present. The most frequently

played pieces have been chosen for analysis. The violin

syllabus of The Western Board of Music provided an

appropriate resource for choosing repertoire, since it

is used by the majority of violin teachers in western

Canada and is readily available to most violin teachers.

3. The chosen pieces have been analyzed by the

previously mentioned panel of Western Board of Music

experts. The panel identified the technical and inter-

pretive skills required for successful performance of

the selected pieces. This panel has also been surveyed

for their comments on problem areas in the selected pieces

in past examinations.

4. Books, articles, theses and dissertations about

violin teaching and playing have been researched for

comments on the technical and interpretive skills iden-

tified by the panel of experts.

5. The etude materials listed in The Western Board

of Music violin syllabus have been researched to find

 16

exercises that deal with the skills needed to perform

the selected pieces. Where the published material is

nonexistent or inappropriate for a required skill, short

preview exercises have been provided by the author.

Definitions
Accent - a strong emphasis placed at the

beginning of a note.
Arrival Note - the first note in a new position
following a shift.
Chord - any combination of notes played simul-
taneously. On the violin this is
restricted to a maximum of four notes.

Combination Skill - the coordination required to accurate-

ly perform fast left hand passages
that include string crossings and
quick bow changes for the right arm.

Contact Point - the point between the bridge and

fingerboard at which the bow hair

touches the string.

Contraction - a shifting technique where the finger

playing the arrival note is placed

a semitone or tone lower than normal,

after which the hand and remaining

fingers shift to the new position.

Departure Note - the last note in the old position pre-

ceding a shift.
 17

Detache - a smooth, even bow stroke, with a

separate stroke taken for each note.

Distribution - the proportionate use of the bow

to effect note duration and dynamics.

Double Stop - a chord of two notes, played on two

adjacent strings.

Extension - a shifting technique where the finger

playing the arrival note is stretched

a semitone or tone higher than normal,

after which the hand and remaining

fingers shift to the new position.

Finger Facility - fast movement of the left hand,

involving quick changes of strings

and non-sequential use of fingers.

Finger Preparation - the placement of a finger on a

new string prior to its note being

played by the bow.

Harmonic - a "whistling sound" produced by light-

ly touching the string at one of

its natural dividing points or nodes.

Intermediary Note - in a shift, the note placed in between

the departure note and the arrival

note to determine the distance to

be covered by the shift. The inter-

mediary note is normally sounded

only during practice.

 18
Intermediate Level - the level of skill development

between beginning level and advanced

level, characterized by the learn-

ing of shifting, vibrato, and double

stopping in the left hand, and mar-

tel^, spiccato and the playing of

chords in the right arm and hand.

Legato - the slurring of two or more notes

on one bow stroke uninterrupted by

pauses or separation.

Martele - a short, fast bow stroke on the

string, separated from the preceding

and following strokes by a plainly

noticeable pause or rest.

Meter - the combining of musical beats or

pulses into units containing one

strong pulse followed by one or more

weaker pulses.

Mordent - an ornament performed by playing in

extremely rapid order beginning on

the beat a written note, its dia-

tonic or chromatic upper or lower

neighbor, and the written note.

Pizzicato - the plucking of the strings with

the fingers of either hand.

 19
Placement Point - the point between the frog and the

tip at which the bow hair touches

the string.

Portamento - the gliding of the left hand between

positions so that all intermediary

notes are heard.

Portato - a bowing technique where a number
of notes are played in a stroke,
each note being separated by a pulse
or an extremely slight pause of the

bow.
Pronation - rotation of the hand or forearm so
that the palm faces downward.

Pulse - the basic unit of time in music.

Rhythm - the combining of various durations
(notes) into a unit within one beat

or pulse.

Rubato - the slowing down or speeding up of

the pulse within a measure to create

a musical or emotional effect.

Shifting - the movement of the left hand unit

to a different position on the fin-

gerboard so that the fingers play a

new set of notes.

Slur - the sounding of more than one note

on a single bow stroke.

 20
Son file - the sustaining of a note by a single

stroke of the bow long enough for it

to receive a singing character,

Spiccato - a bowing technique performed by bounc-
ing the bow for each separate note,

Staccato - a succession of short, clearly sepa-

rated strokes on one bow, the bow
remaining on the string, and usually
performed on the up-bow.
Syllabus - a graded list of pieces, studies
and technique, representing sequential
development of performance skills,

Tremolo - the iteration of one note by rapid

bow strokes.

Trill - the rapid alternation of a printed

note with its diatonic or chromatic
upper neighbor.
Trouble Spots - those places which present complica-
tions in performance although there
is no apparent difficult technique

required for effective performance,

Vibrato - the rapid oscillation of pitch at

regular intervals, downward and then

upward, caused by the rocking of

the fingers on the string.

 21

Limitations

The present study is limited to an examination of

the technical and interpretive problems of twelve selected

intermediate level violin pieces from The Western Board

of Music syllabus and to suggestions of practical solu-

tions to the performance problems presented by those

pieces. There has been no attempt to evaluate the musical

quality of the repertoire or to provide a formal analysis

of the repertoire.
 22

Notes

Flesch, Carl. The Art of Violin Playing. 2nd Revised

Edition. New York: Carl Fischer, Inc., 1939.

Syllabus No. 2. 1983 Issue. Edmonton, Alberta: The

Western Board of Music, 1983.
 CHAPTER II

REVIEW OF THE RELATED LITERATURE

This chapter examines published sources pertaining

to the intermediate violin pedagogy embodied in the
selected pieces. Where necessary due to a lack of
material at the intermediate level, sources cited come
from either the beginning or advanced level. These
sources form the basis of exercises in Chapter IV, which
are adjusted to be appropriate for the intermediate level.
Chapter II also summarizes the contents of five syllabi
containing graded lists of repertoire, studies and tech-
nical material for the violin.

Pedagogy

Carl Flesch wrote two volumes on The Art of Violin

Playing, originally published in 1924 and revised in

1939. He was the first twentieth century teacher to write

about the various aspects of violin playing and teaching

in a thorough and systematic manner. An in-depth study

into available resources reveals that numerous other

teachers and performers have followed Flesch, producing

many books and an abundance of articles, although the

majority of the resources pertain either to beginning

or advanced instruction. This study cites those peda-

gogues of this century who have established reputations

with long standing experience in teaching and/or have

23
 24
presented the results of significant research into the
intermediate level violin skills encompassed by the
selected pieces.

Although effective performance requires coordinating

left and right hand technique along with the incorporation
of appropriate stylistic and interpretive decisions,
this study will follow the standard practice of discussing
the aforementioned foci separately. The literature de-
lineating left hand technique will be surveyed first,
followed by right hand technique, combination skills,
and interpretive technique.

Left Hand Technique

The following left hand techniques are required in

the selected pieces: (1) finger preparation; (2) shift-
ing; (3) playing in positions; (4) trills and mordents;
(5) vibrato; (6) harmonics; (7) finger facility; and
(8) double stopping.

Finger Preparation
Finger preparation is the placement of the finger

on a new string prior to the note being played by the

bow. It is required of the left hand to avoid unwanted

notes or sounds when crossing strings.

The crossing of strings combines two left hand finger

movements: "a horizontal movement and the vertical move-

ment of lifting the fingers off one string and setting

 25
them on another" (Galamian, 1985, p. 18). For a smooth

change of string the left hand and the right arm must

move almost simultaneously, with the left hand acting

slightly before the right arm. In this regard, Flesch

notes that "it is the left hand, which is unable to carry

out the movement it has to make as rapidly as the right

arm, and hence arrives the fraction of a second too late"

(Flesch, 1939, Book 1, p. 25). Kato Havas suggests that

"we must make absolutely certain that the fingers that

cross the strings are properly prepared, for then the

right arm will be able to follow naturally" (Havas, 1961,
p. 33). Galamian states:

Defects in legato string crossings can

also be caused by faulty coordination of
the bow with the left hand. The most common
errors are those in which the finger on
the note preceding the crossing is lifted
too soon, or the finger on the note after
the crossing is not prepared soon enough.
(Galamian, 1985, p. 66)

The solution is:

. . . during practice to put down the finger
which is to carry out the change of string
a little too soon (the finger in question
is indicated by a square note (D)» in
the following example).
BrneA^ 0 min cto, 3QMOVI.

»^^ta#
=ttr u1

The resultant preparatory movement of the

finger concerned . . . is also retained
in ordinary performance to a certain extent.
(Flesh, 1939, Book 1, p. 25)
 26

Shifting

Shifting is the movement of the left hand unit to

a different position on the fingerboard, "an action of

the entire arm and hand, including all of the fingers

and the thumb" (Galamian, 1985, p. 2 4 ) . This is a most

important left hand technique for the violinist. Menuhin

stresses attention to all the parts of the shifting unit.

He states that during shifting:

It is important to raise the elbow and the

forearm into the knuckles whilst letting
the shoulder drop. In this way the player
will encounter no difficulty in moving from
low positions to high positions, as he will
be continuously on the same level. (Menuhin,
1973, pp. 30-31)

Flesch states that shifting "forms the most arduous por-

tion of the whole system of left hand technique" and

notes that although the entire arm is involved in shift-

ing, most pedagogues focus on the hand and fingers

(Flesch, 1939, Book 1, p. 26). Thus, although the

majority of references are to the hand and fingers, it

must be remembered that the lower arm, upper arm and

shoulder also move during shifts.

As Flesch indicates:

There are three fundamental types of shifts:

(1) The same finger plays the note preceding
and the note following the shift (Example 6 ) .

I m
Example 6
^
 27
(2) The shift (sliding motion) is performed
by the finger that is on the string when
the shift starts, but a new finger plays
the arrival note (Example 7 ) .
III
''—*>^
I '^:^S~>f f^^'-'P Example 7

(3) The shift is performed by the finger

that will play the arrival note (Example 8)

iOfel^'r Example 8
«

A shift that crosses strings will also fall

under one of these headings as far as the
left hand is concerned. (Galamian, 1985,
p. 25)

General agreement exists that the general tempo of

a passage determines the speed of the shift: the faster

the tempo, the faster the shift. That the bow should

move slower and exert less pressure during a shift is

also a consensus among pedagogues. The ear has a great

role to play in a successful shift "by listening intently

before the shift, and by hearing, during the shift, the

gradual approach to the new pitch" (Galamian, 1985,

p. 26) .

While D. C. Dounis states that the thumb always

follows the movement of the hand (Leland, 1963, p . 4 2 ) ,

Flesch differentiates the technique for an upward shift

and a downward shift by writing that in a downward shift

the thumb precedes the finger. This advance movement

is also necessary in shifts from third position to a

higher position (Flesch, 1 9 3 9 , Book 1, p . 2 7 ) . In The

 28
Suzuki Violinist. William Starr notes that long shifts
(from first position to a very high position) and con-
secutive shifts (as in arpeggios) require the hand to
move out away from the neck to facilitate the necessary
smooth shifting motion (Starr, 1976, p. 126).

While Flesch agrees with Galamian that acute lis-

tening is necessary for accurate change of position, he
discusses the use of intermediary notes in shifting,
calling them "the most important and helpful aid for
establishing the exact distance to be covered" (Flesch,
1939, Book 1, p. 27). The fundamental principle involved
is that one finger will slide from the note preceding
the shift to the intermediary note, thus establishing
the distance of the shift, whereupon the new finger plays
the arrival note.

In sequence follow some examples on the G

string with (bracketed) intermediate notes:

26.

^^^^^f-
« 1 1 3 1 1 4 1 1 4 2 2 4 T *»

• t The boundaries of the distance to

•

be covered are established by one of the

two notes to be played, as well as by the
intermediary note . . . the latter must
not be heard in performance; while it may
be of supreme importance, when practicing
the change of position. (Flesch, 1939,
Book 1, p. 28)
 29

Applebaum speaks for the majority of pedagogues,

indicating that shifting study should commence after

intonation is reasonably well established in the first

position (Applebaum, 1986, p. 34). Vincent Oddo states

that shifting study should begin after the student has

consistently demonstrated: (1) proper shape of the left

hand and arm; (2) understanding of the basic finger

patterns; and (3) ability to coordinate bow and finger

movements (Oddo, 1979, p. 105). Oddo also emphasizes the

importance of developing both aural and touching skills

in shifting, stating:
Both skills are integrated into a unified
technique by first hearing the pitch of
the target note, then comparing it with
the sensation in the thumb and shifting
finger as they measure the distance the
hand must travel to arrive at the target
note and position. (Oddo, 1979, p. 105)

Applebaum offers this instruction:

In this shift . . . you lighten the finger
and thumb pressure during the slide. You
must also bring the bow a bit closer to the
bridge when you shift to a higher position.
As the shift is made, the thumb must gradually
pass under the neck. . . . Below, "t" means
to test the note with the open string.

t
^ ^
1 3

^ 2 4 2 2 2
Do these exercises on all strings. (Applebaum,
1986, p. 36)
 30

I. Yampolsky details two fundamental principles to

be followed when shifting. The first is that the majority

of position changes involve sliding the finger.

A correct position change consists in a
light sliding along the string so as to
bring the hand smoothly into its new
position. The sliding of the finger should
be unnoticeable, and for this the pressure
of the finger on the string should become
less as it nears the required position.
(Yampolsky, 1965, p. 38)

The second fundamental principle is that "the most

rational fingering for any position change over any

interval is that which goes to the nearest possible

position" (Yampolsky, 1965, p. 39). Another possibility,

in addition to sliding the finger, is the use of exten-

sions and contractions, examples of which are given by

Yampolsky:
A change of position by means of contrac-
tion :

I I

is made in the following way: the first

finger stays where it is while the fourth
moves towards it, whereupon the first finger
and hand make the position change. . . .

Changes of position by means of extensions:

are effected by extending the finger to

the required position, moving the hand
accordingly, and bringing up the remaining
fingers. (Yampolsky, 1965, p. 41)
 31

A shift should normally be smooth and unnoticeable.

To achieve this goal, Yampolsky lists seven "rational fin-

gering devices," as exemplified below:

(1) Moving to an adjacent position by means
of sliding one finger a semitone.

•• I I T r

!" imMu
(2) Changes of position by means of alter-
nating fingers on the same note.

Boucher. 'My Caprice'

4
0
Allegro
1 I 2 ? 4 3 2 1 2 3 ^4

4"ii | g i ^

(3) Changes of p o s i t i o n u s i n g open s t r i n g s .

Paganini, 'Campanella' Beethoven, Concerto, 3rd Mvt.
Allegretto grazioso Allegro
• 2 * ^
2 I 0 >
ei g
^

(4) Changes of position using natural har-

monics .
Bruch, Concerto im C muior, 3rd Mvt.
Allegro energico
K M. W 4

(5) Changes of position using contractions.

Allegretto poco Agitato Schubert, 'Bumble-Bee'

r > » . i 5 i . a 5 » I =^
 32

(6) Changes of position using extensions.

Lalo, 'Symphonie espagnole', 5th Mvt. Brahms, Concerto, 1st Mvt.
Allegro Allegro non troppo
instead
2l- of

\'np£"-U ^ ^
(7) Changes of position using a mixed
fingering containing both extensions and
contractions.
Allegro, molto appassionato Mendelssohn, Concerto, 1st Movt.
'4

' * ' 4 3 4 , 2

(Yampolsky, 1971, pp. 42-46)

Applebaum offers the following summary of the basic
rules of shifting:

1. when we shift from one position to another

with different fingers in a slur, we shift
with the finger that is already on the string,
whether ascending or descending;
2. we ascend with the finger that we are
going to, and not with the finger that is
already on the string;
(a) when there is no slur and
(b) when we shift from a higher finger
to a lower finger;
3. when descending, we always shift with
the finger that is already on the string.
However, and this is important, we may break
the above rules whenever we wish to do so for
musical reasons. (Applebaum, 1986, p. 37)

Yampolsky created a chart showing position changes

on one string, shown in Figure 4.

 33

Position changes using adjacent fingers

I
From higher tojower '^ From lower to higher

. . 7VTT\
i i ^dd j 3(ii 44)1 : 3d)| 4dU
^

<",(ja «),j,l f), <i>|

Position changes using non-adjacent fingers

.^[Pi'l^i^i'5£i°Jf^5'' __i_ __ _frqrn lower to higher

)3(i> b)3y)' c)3(^>i i*Uj* ^^iiA ''^iJ^

^
^ 'f^f .^'f^ V-f
4(J)1 4(j)2 4(J)i .(Si,4:
4^)1 4(J . » i 4«,
f#f# f^Mf#
*

d),(^)^ e) 3 'J"
- :E f),'^'i d)i e 'hU
^ £ ^ ^
!^«
^ ^
*
7 ^
4^'; 4'J'i
TY W.
I Shift from 1st to 4th finger impossible
• Shift from the 2nd finger impossible

The same technique is used for descending intervals as for ascending, i.e. the
finger already on the string forms an auxiliary note.

Figure 4. Fingering Chart of Position Changes on One

String. I. M. Yampolsky. The Principles of
Violin Fingering. London: Oxford University
Press, 1971.
 34
Playing in Positions

The rational use of positions opens up unlimited

expressive possibilities for the violinist (Yampolsky,

1971, p. 36). While the beginning level of instruction

concerns itself with establishing the left hand shape

and in-tune playing of all the first position notes,

the intermediate grades see the introduction and develop-

ment of playing in higher positions. Positions are used

for a number of reasons: (1) to extend the upper range

of the instrument; (2) to avoid awkward string crossings

and fingerings; (3) to attain desired tonal effects avail-

able on one string or only in the upper positions; and

(4) to avoid the unnecessary use of open strings (Oddo,

1979, p. 103). The distance between the first and fourth

fingers determines the extent of a position on any one

string, the most natural interval in the first three or

four positions being a perfect fourth.

A strong case is made for introducing the new fin-

gerings in the higher positions before developing the

shifting motion itself. Starr notes:

At first Suzuki does not present shifting,
that is, the movement of the hand in con-
necting two positions, but rather the posi-
tions themselves. The student's attention
is brought to bear on the new fingering
and the "feel" of the different stretches
of the fingers. . . . In fact, intonation
becomes of primary importance here. (Starr,
1976, p. 105)
 35
Kato Havas also states "it is very important that no

movement from one position to another should be attempted

until the player knows (without having to think) where

all the notes are in the first three positions" (Havas,

1961, p. 36). She is joined by Applebaum and the majority

of teachers in advising to study the third position

directly after first position because of its advantages

in maintaining a more natural hand position than second

position.

Yampolsky, in his discussion on positions, provides

a basis for developing the sense of "feel" mentioned by

Starr. He states:
We must consider the most important part
of left hand technique, from the point of
view of establishing exact intonation in
a given position, to be the positioning
of the first and fourth fingers (in relation
to the general position of the wrist, elbow,
and thumb). This forms in the lower
positions:
(a) the interval of a perfect fourth on
one string:

^m
(b) the interval of an octave on two
adjacent strings:

^
 36
(c) the interval of a perfect fifth on
two adjacent strings, both taken by the
first finger:

(Yampolsky, 1971, p. 34)

Trills and Mordents

A trill is the rapid alternation of a printed note

with its diatonic or chromatic upper neighbor, while a

mordent is one very rapid alternation of a printed note

with its chromatic or diatonic upper or lower neighbor.

Better sounding trills begin slowly and gradually become

more rapid. In the discussion that follows, suggestions

for performing trills may be extended for mordents, since

the performance of a mordent is simply one trilling

motion, and many of the same hindrances are present for

the execution of both mordents and trills.

Galamian notes that a trill should be executed

lightly, with a feeling of relaxed articulation, and

the trilling finger kept close to the string (Galamian,

1985, p. 30). He also draws attention to the importance

of the ending of the trill, suggesting that a slight

motion of pizzicato with the trilling finger will assist

in terminating the trill clearly (Galamian, 1985, p. 2 ) .

Menuhin suggests to concentrate always on lift,

with a focus in the "fingers of the left hand, not on

the coming-down note, but on fast, sudden, light lift"

 37
(Menuhin and Primrose, 1976, p. 54). The following

discussion emphasizes the importance of the lifting of

the trilling finger:

A good trill is possible when we have a

relaxed hand and when the fingers have been
trained to snap back quickly with precision
and speed. . . . The mordent might well be
the secret of a good trill because its per-
formance encourages a snappy lifting of the
finger from the string. The finger must
always leave the string in a curved shape.
In the following exercise . . . lift
the finger quickly from the string, accenting
each quarter note. Leave a clean stop before
starting the next note.

^ ^ j3^ r4 {i^ ^ i l^ ^J JIJ ^

(Applebaum, 1986, p. 13)
Flesch suggests the use of the following three exercises

in.acquiring a good trill:

JTrestlser, Etude N9 13

121
j^^ ^ ^

122
t^^lm^'ffi^W^
In Example 121, the trilling finger is
raised as high as possible, and drops back
upon the string with the greatest possible
elasticity. In Example 122, the finger
is raised as Ii ttle as possible. In the
third exercise, the trill is carried out
in slow, regula r beats and in the end as
a quick trill exercise in its original
form. (Flesch, 1939, Book 1, p. 46)
 38
Flesch also proposes exercises that overcome the
hindrances that may prevent the acquisition of a good
trill. Cramped contraction of the ball of the thumb
may be overcome by allowing the thumb to float freely
in the air while practicing the trill. A stiff wrist
can be artificially loosened by carrying out a very slow
vibrato movement. Fingers not involved in the trill
should hang loosely and swing with the trilling finger,
in order to eliminate stiffening. Too much pressure by
the finger playing the written note can be overcome by
lifting it when the upper finger touches the string or
by trilling on natural harmonics. Example 121 above
should be practiced to overcome insufficient raising of
the finger, while Example 122 can be practiced to overcome
raising the finger too high (Flesch, 1939, Book 1, p. 46).

Vibrato
Vibrato is the rapid deviation from true pitch at

regular intervals, downward and then upward, caused by

the rocking or trembling of the fingers on the string.

It is a most important interpretive tool for the per-

former that may be introduced when the basic techniques

of bow control, reliable intonation and shifting have

been learned (Oddo, 1979, p. 132). The three types of

vibrato generally identified and isolated for study are

arm, hand and finger. In performance, one type may

predominate, although the mature vibrato will always

 39

present the following features: (1) a coordinated

motion of arm, hand, and fingers; (2) rhythmic evenness;

(3) continuity from note to note; (4) varying degrees

of expressiveness; and (5) controlled relation to musical

context (Oddo, 1979, p. 131). The performer should be

capable of controlling the speed, width, and intensity

of the vibrato and be able to change from one type of

vibrato to another. "In general, the vibrato will have

to be adapted to the dynamics of the bow, becoming more

intense and wider in forte, more subdued, narrower, and

less fast in piano" (Galamian, 1985, p. 37).

Galamian emphasizes that the hand must never squeeze

the neck of the instrument, since this will create strain

and effectively stop any action of the hand (Galamian,

1985, p. 38). He suggests improving the looseness of

the finger joints by placing the fingers on the string

and alternately stretching and bending the joint nearest

the nail (Galamian, 1985, p. 41). Applebaum suggests a

similar exercise using the fingertip placed on the inner

edge of the thumb, to be performed prior to using the

instrument (Applebaum, 1986, p. 65). The vibrato should

go to the flat side of the pitch first, and should then

re-establish the correct pitch by its forward swing

(Galamian, 1985, p. 42).

Applebaum, Galamian, Menuhin and Oddo suggest begin-

ning the hand vibrato in third position with the lower

 40
part of the palm contacting the body of the instrument.

"In the backward and forward motion, the hand hinges at

the wrist, giving the hand a somewhat faster and wider

motion. In this type, there is considerably more flexing

of the fingertip, but less movement of the forearm (than

in arm vibrato)" (Oddo, 1979, p. 131).

The hand swings from a more-or-less immobi-

lized arm. . . . The finger elongates itself
as the hand swings backward toward the
scroll and then resumes its original curved
position as the hand returns to its starting
point. See Illustrations 13 and 14.

ILLUSTRATION 13 Starting position for the ILLUSTRATION 14 Backward swing in the

vibrato: squared fingers. vibrato: flattened fingers.

. . . The side of the index finger will

best be detached from the neck of the
instrument. For the initial steps, it is
good to start with an exact number of pulses
per beat: two motions, then three, four,
six, then more without counting them.
(Galamian, 1985, pp. 38-39)

Menuhin suggests keeping the thumb stationary while

oscillating between third and first positions, with "each

finger in turn touching the string lightly and with rhyth-

mic accent on the note in first position" (Menuhin and

Primrose, 1976, p. 53).

 41
The arm vibrato is much the same as the hand vibrato
except that the impulse comes from the forearm instead
of from the hand. "The forearm, wrist, and hand move
backward and forward as a single unit. The pitch
variations are created by the slight rolling and/or
flexing of the fingertip in a motion that is almost
parallel to the string" (Oddo, 1979, p. 131). "In addi-
tion, the lower arm may be active in a twofold manner:
in the direction of the face, or with a slight twist in
the elbow-joint" (Flesch, 1939, Book 1, p. 36). The
same rhythmic methods can be applied as for the hand
vibrato.

The finger vibrato "should not be attempted until

the hand and arm vibratos are under full control"

(Galamian, 1985, p. 40). The impulse comes from the

finger, which swings from the base knuckle.

Flesch identifies three kinds of faulty vibrato:

(1) The Over-Close (Exclusive Finger) Vibrato; (2) The

Over-Broad (Exclusive Wrist) Vibrato; and (3) The Over-

Stiff (Exclusive Lower Arm) Vibrato. The Over-Close

Vibrato, developed by exaggeratedly quick and close

oscillations of the fingers or arm, with a stiffening of

the wrist, can be corrected by securing the participation

of the wrist. Flesch states:

Beginning in the third of fourth position,

the left lower arm is firmly rested against
the body of the violin. . . . The first
finger is applied to the string very flatly;
 42
the hand carries out a forward movement
with an inclination to the left, without
the finger leaving the string. This brings
about a merging of the finger and wrist
movements, together with a slight roll of
the lower arm in the elbow-joint. (Flesch,
1939, Book 1, p. 37)

The hand movement in the Over-Broad Vibrato must be

diminished and the finger drawn into more active partic-
ipation. This may be achieved by first laying the finger
on the string lightly, in the manner of a natural har-
monic, followed by a slight pressing down of the string.
These two movements are carried out one after the other
in rapid succession. This results in a weakening of
the wrist action and a strengthening of the finger action.
The Over-Stiff Arm Vibrato must be combined with a certain
amount of wrist movement until a satisfactory mixture
is achieved. Stiff vibrato movement caused by cramped
pressure of the thumb or third joint of the index finger
on the neck of the violin may be fixed by using the pre-
viously mentioned exercises for loosening the fingers
and wrist (Flesch, 1939, Book 1, pp. 36-39).

Flesch also points out that the "vibrato should never

be used as a matter of habit, but only as the consequence
of a heightened need for expression" (Flesch, 1939,
Book 1, p. 40).

Harmonics
Harmonics are the "whistling sounds" produced by

lightly touching the string at one of its natural dividing

 43

points or nodes. As Oddo points out, "placing the finger

at a point that is a string division of 1/2, 1/4, 1/3,

etc., permits the string to vibrate in segments rather

than as a whole. That is, the overtone (harmonic) sounds

rather than the fundamental (the stopped or open string)"

(Oddo, 1979, p. 129).

"Natural" harmonics involve the use of only one

finger placed lightly on the string; "artificial" har-

monics, the use of a solidly placed lower finger and a

lightly touching upper finger. Since the use of harmonics

is essentially an aesthetic choice, Flesch outlines three

instances in which their use is permissible:

First, where the sense of the musical con-
nection calls for a certain chaste reticence
. . . or a playful, arabesque-like charm:
. . . Secondly, when the note in question
is greatly exposed, in a slow tempo, and there
is an especially dangerous possibility that
when taken firmly it will not come out well
or be missed entirely: . . . And finally,
in cases where only sureness and brilliancy
and no other expression of any kind are in
demand. (Flesch, 1939, Book 1, pp. 47-48)

The bow plays an important part in the effective

performance of a harmonic. Flesch notes that "plenty

of bow and little pressure represent the main means to

this end, and in addition good, adequately rosined bow-

hair is essential" (Flesch, 1939, Book 1, p. 49). Oddo

notes that "harmonics should be bowed a bit closer to

the bridge and with less bow weight" (Oddo, 1979,

p. 129).
 44
Flesch suggests Book Four of Sevcik's School of

Violin Technique for study of harmonics, and makes the

following comment regarding artificial harmonics:

With regard to their aesthetic value it

is possible to entertain different opinions;
unquestionably, however, they represent
an uncommonly charming component of self-
sufficient violin technique, and hence
should be controlled by every violinist
whose skill makes any pretension to com-
pleteness. (Flesch, 1939, Book 1, p. 48)

Finger Facility

Finger facility is the fast movement of the left hand

fingers, involving quick changes of strings and non-

sequential use of fingers.

Applebaum recommends using trill exercises to develop

velocity in the left hand (Applebaum, 1986, pp. 12-13).

Dounis recommends beginning with scale-like passages:

Practice a group of four notes in one bow,
slowly and with full tone. Pay attention
to the proper lifting and placement of the
fingers. . . . Repeat each group of four notes
many times on each string as fast as possible
. . . Practice two groups in one bow.

uijnj)^
(Leland, 1963, p. 51)

Facility is enhanced by the following exercises:

(1) Slowly and Forte:

 45
(2) Repeat each group of 8 notes many times
as fast as possible when practicing pp
[pianissimo].

Continue combining groups in the same manner,

a few minutes a day. First: slowly and
forte. Second: Each measure fast and
pianissimo, repeated many times in a bow
stroke. (Leland, 1963, p. 52)
Problems caused by lack of attention to this topic arise
in discussion of the advanced repertoire covered by Flesch

and Galamian.

Double Stopping

A double stop is a chord of two notes, played on

adjacent strings. Both the left hand and right hand

need to be considered. Problems for the bow arm will

be discussed in the section of this chapter devoted to

the right hand and arm.

As far as the left hand is concerned, there are three

types of double stops: (1) the placing of one finger on

one string coupled with the playing of an open string;

(2) the placing of one finger on two adjacent strings;

and (3) the placing of two fingers on adjacent strings.

The most common double stop is the third type--two

fingers placed on adjacent strings. In this type, there

is the potential for the use of excessive pressure and

tension, which can easily spread from the fingers to the

 46

thumb and hand. Students therefore must be cautioned

not to overpress when playing double stops.

Applebaum notes that "the first problem is to shape

the hand in such a way that each note will be clearly

articulated" (Applebaum, 1986, p. 50). He recommends

the following exercises:

Learn to play these double stops without

adding additional bow pressure. (1) Practice
softly and slowly. (2) The two strings must
be heard throughout. Aim for smooth, even
tones, (3) Master each line before proceeding
to the next.

The lower note remains the same

I
n
^
my cf 'm ^
^
m z
3:

•a—v ' V o o I
Z5P^
f DC ^ ^ az
TT.
Ecra
m
m
n

^ p
•O—^m-\—V
Zi
m 0 m w w •O ?
^0—^
-C
a
• =i
' 9 9 0 9 9
a
p-'fi-
k^ 1
fH z PC « T ^ - 6 s IE z=z 2=2
^ #= — — ^ p p V V u o—p
Sixths
n

yijiJiji.liJi.li'I|iJiJiiiJijfJijiJ'Jr:liJrFiJrJijfj!JH
Sixths

• ^ »! -^ . 3 n ^ V 1 .

(Applebaum, 1986, p. 51)

Galamian notes that attention must be given to the

intonation of double stops requiring close position of

the fingers. He gives as examples the intervals of a

m inor sixth and augmented fourth "which technically become

half steps as far as the left hand is concerned," and

remarks that treating such intervals as half steps will

 47
aid in performing them in tune (Galamian, 1985, p. 28).

Regarding the perfect fifth, which must be played with

one finger on two strings with the result that one note

is usually flat, Galamian suggests leaning the finger more

heavily upon the string with the flat note by "turning

slightly the finger and wrist and moving the elbow more

to the right or more to the left as the case may be"

(Galamian, 1985, p. 28). He goes on to say:

A difficulty encountered in double stops is

the failure of the fingers to articulate
both notes of the double stop exactly at
the same moment. The best way to deal with
this problem is indicated in Example 12.
To be practiced
(a) (b)
etc.

etc.

Exomple 12
Jocob Dont: 24 Etudes and Caprices. O p . 35
No. 21 (meosures 1-2)
A rhythmic variant that will shorten the
troublesome notes will help most effectively
in practicing. (Galamian, 1985, p. 29)

Flesch discusses specific double stops in The Art

of Violin Playing, regarding thirds and fingered octaves

together. Considering only one position and without a

change of string, he identifies two kinds of interwoven

movement in thirds and fingered octaves:

 48
The falling movement and the stretching move
ment (in the case of the fingered octaves):
3 1

10 -0- 1 - n

. . . technical exercises for falling and

stretching . . . should be practiced:

lOi
'^^^^^^^m
3 111

iOG
— ^ ^
1*1
^ ^ — — m ^?rv^=^

(Flesch, Book 1, 1939, p. 43)

Flesch also notes that the most common shortcoming

of playing thirds "consists in taking major thirds too

far apart and minor thirds too close" (Flesch, Book 1,

1939, p. 44).

In the performance of octaves with the first and

fourth fingers, Flesch asks the student to consider the

role of the passive second and third fingers, which he

regards as very important, for "it is through them that

the distance from the first to the fourth finger is

measured" (Flesch, Book One, 1939, p. 45). He notes

that the passive fingers should remain relaxed in posi-

tion, without being stretched upward or sideways, or

being pressed on the strings, adjusting only to compen-

sate for the diminishing space between the first and

fourth fingers as each higher position is played.

 49

Perhaps nowhere in left hand technique does the

following fundamental principle, outlined by Flesch,

and agreed to by Havas, apply more than in the study of

double stopping: "The majority of technical problems

are made up of various difficulties which must be sepa-

rated one from the other, and be individually overcome"

(Flesch, Book 1, 1939, p. 43). Havas suggests that it

is a "good practice to take the double stops separately

first. . . . Then combine them in very slow motion, in

pianissimo" (Havas, 1961, p. 46).

Right Hand Technique

The learning or development of the following right
hand techniques is required in the selected pieces:
(1) legato string crossings; (2) accents; (3) bow
distribution and contact point; (4) new rhythms;
(5) compound duple time; (6) portato; (7) double stops
and chords; (8) spiccato; (9) the flying staccato;
(10) changing from a slur to spiccato; and (11) martel^.

Legato (Slurred) String Crossings

Legato is the slurring of two or more notes on one

bow stroke uninterrupted by pauses or separation. In

many cases, more than one string is involved in the slur.

Flesch describes two means by which a change of

string takes place with the right arm:

1. In slow tempo between middle and point,

by rolling the upper arm in the
 50
shoulder-joint; from the middle to the nut
by combination of the same movement with a
rolling of the lower arm in the elbow-joint.
The upper arm should be adapted to the posi-
tion of the two lower strings.

2. In rapid tempo at the upper half, by means

of a vertical movement of the wrist; toward
the nut by means of a clean-cut rolling of
the lower arm in the elbow-joint. (Flesch,
Book 1, 1939, p. 61)

Menuhin prefers to think of a "waving stroke" with

attention focussed on the knuckles and thumb of the right

hand.

In the down-bow the knuckles tend towards

the depressed position and in the up-bow
towards the protruded position. . . . The
lower arrows indicate how the thumb alternates
between its bent position, rolling towards
the tip of the bow, on the upper string,
and the opposite roll as the bow moves to
the lower string.
n ¥
•4> . 1-
4•>rrm nm^
W WV V*^ Wv* W
Play this exercise with the whole length of
the bow on each group of five notes.
(Menuhin, 1971, pp. 83-84)

Rolland recommends that slurred string crossings be

practiced by first playing "short slurred patterns at

the middle, tip, and frog, transferring the bow from one

section to another with smooth, arched motions"

(Rolland, 1974, p. 122). If tension is present in the

shoulders, arm or hand, he suggests performing the

following exercises:
 51
1. Place the left hand in
the middle positions, hook
the bow on the little finger,
and establish a correct
bow hold.

2. "Roll the Arm," smoothly

moving the arm, hand, and
bow as a unit from the
shoulder joint.

3. "Rock (shake) the Bow."

Use natural movements as
if sprinkling water or using
a salt shaker. Keep the
arm balanced and the elbow
buoyant. (Rolland, 1974,
pp. 86-87)

Flesch points out that the change of string should sound

even, and that this can be accomplished by avoiding

unnecessarily broad movements and by carrying out "the

necessary turns so that they are hardly visible" (Flesch,

Book 1, 1939, pp. 61-62). Havas notes that in crossing

strings "to make certain that it is the whole of the

right arm and not just the wrist that follows the

initiative of the left (hand) base joints" (Havas, 1961,

p. 5 2 ) . Galamian points out:

As a rule, a smooth change of strings is

best effected by a subtle, close approach
to the new string in the fashion demonstrated
in Example 40.
Example 40

-f J-^ r " 3 P
 52
If the crossing is made gradually enough, a
double stop will sound momentarily between
the two notes, as indicated by the grace
note in the example. This double stop should
form so subtly that it is not possible to
distinguish either the exact moment of its
beginning or the instant of its termination.
. . . A very slight pressure of the bow,
just as the crossing is made, will help fur-
ther in binding the tones smoothly together.
(Galamian, 1985, p. 65)

Galamian also notes that special practice should be given

to string crossings in the lower part of the bow, and

"where the bow changes back and forth between two strings
many times on one bow stroke, it should stay as close

as possible to both strings without sacrificing the clear

articulation of each note" (Galamian, 1985, p. 65).
Dounis suggests the following:

(a) In crossing to a higher toned string

the hand leads and the arm follows.

(b) In crossing to a lower toned string the

arm leads. . . . When crossing from a higher
toned string to a lower toned string the
feeling of leading lies in the arm just above
the wrist. When crossing from a lower toned
string to a higher toned string, the feeling
of leading lies in the hand.

(c) Dounis exercise:

^"j7ij]jJj^J!!?ituJ^^^^'^i

(Leland, 1963, p. 30)

 53
Accents

An accent is a strong emphasis placed at the begin-

ning of a note, created by a quickening of the bow, by

applying more weight on the string at the start of the

note, or by a combination of the above (Applebaum, 1986,

p. 85). Flesch defines three types of accents:

(a) Accent after change of bow, yet without

preceding pause:
Beethoven, Quartet, Op. 18, KQ i , 19 Mov't
290.
^ #

(b) Accent after change of bow, but with

preceding pause, i.e., as an initial accent:

291. JE ^S ^ ^ ^
^

(c) Accent in the midst of a legato:

Beethoven, Quartet Op. 59, N9 1, 19 Movt.

292.

The accentuation is always produced by means

of heightened pressure of increased expendi-
ture of bow; the latter in such a case has
a more violent character than in the cres-
cendo or decrescendo. Example 290 requires
increased bow expenditure, since heightened
pressure (at the nut), would easily cause
danger of forcing. In Example 291, on the
other hand, the accent is best produced by
means of a combination of mute pressure accent
and accelerated bowing. In Example 292,
again, the right mixture or acceleration
and pressure is called for, which must be
in proportion to the general level of tonal
strength prescribed. (Flesch, Book 1, 1939,
p. 95)

Dounis suggests feeling the pressure of the thumb

pressing upward against the first finger for the accent

 54

in the midst of a legato (Leland, 1963, p. 31). Rolland

notes that in the accented initial notes the bow pressure

anticipates the movement of the arm. He suggests alter-

nating accented notes with long rests at first, allowing

time for the player consciously to apply pressure "a split

second" before the attack. In addition, he suggests

the use of a pronounced and abrupt pendulumlike swinging

of the upper arm coupled with the application of pressure

at the balance point of the bow as a beginning method

of teaching the accent. This motion will eliminate the

tendency to "crunch" the end of the accent rather than

just releasing the extra pressure (Rolland, 1974,

pp. 141-142).

Flesch and Applebaum make two further points

regarding the accent. The first is that the left hand

may assist in strengthening the accent by either a violent

change of position or excessively strong placement of

the finger: the second is that accents in piano require

less pressure and less bow expenditure (Flesch, Book 1,

1939, pp. 95-96; Applebaum, 1986, pp. 85-86).

Galamian mentions all of the aforementioned types

of accents, noting that they can be used "in every degree

of dynamic and for single notes as well as double stops

and chords" depending on musical reasons, thus emphasizing

the interpretative aspect of the accent (Galamian, 1985,

pp. 67, 71, 85).

 55
Bow Distribution and Contact Point

Bow distribution is the proportionate use of the bow

according to note duration and dynamics. Contact point

is the point at which the bow hair touches the string

between the bridge and fingerboard, thus assisting in

creating a difference in dynamics and tone color. The

ability to control both bow distribution and contact

point is important. These two elements of violin tech-

nique, along with bow pressure, are intertwined by the

intermediate stage of instruction and so are discussed

together in this study.

Paul Rolland suggests the following exercises to

achieve correct and even bow distribution:

1. Hold the bow with a rounded

hand. Play single whole bow
strokes with even distribution.
During the rests, lift the bow
and return to the string with
o , * II
smooth, circular motions . . .

a) Play half notes and arrive

at the middle on the third beat. n
b) Play half notes and arrive
fP •* -11
at the middle on the second beat. V

c) Play dotted notes, using one

third of the bow for each beat.
r m\
2. Practice step 1 at three
levels:
Forte - Play near the bridge
with sufficient bow pressure
for a full tone.
 56
Mezzo-forte - Play farther from
the bridge.

Piano - Play still farther

from the bridge and support
the weight of the bow.
(Rolland, 1974, p. 165)

Flesch points out that the "point of contact between

bow-hair and string is subject to constant change. It
is dependent upon the duration of the bow-stroke, the
strength of the bow-pressure, and the position to which
the left hand is shifted" (Flesch, Book 1, 1939, p. 81).
In general then long strokes, forte dynamic level, and
high positions are played in the vicinity of the bridge:
short strokes, piano dynamic level, and low positions
in the vicinity of the fingerboard.

He also points out very well the role that dynamics

play in determining bow distribution.

Now, although it surely cannot be denied
that an exact division of the bow during
a legato to be played uniformly is very
important, on the other hand, we cannot
disregard the fact that shadings require
an unequal division of the bow.
Beetkoveit^ Vln. C^, IQ Movt.

•S aUUlJii ri
This is an example of a stroke which theo
retically should be divided into 16 equal
parts. Contrariwise in:
Afe0^e/tsoA/i,09,3^ Mov't.
 57

the correct execution of the - — and

is tied up with the following bow-division
4.Q. 8.Q. ^ 2.Q. J. Quarter

An equal division of the bow would require

increased bow pressure at the detriment of
tone quality. (Flesch, Book 1, 1939, p. 65)

Galamian quite correctly points out that "equal

speed of the bow means, of course, equal division of

the bow for equal time units. . . . A well-controlled

and logical division of the bow is of the greatest

importance" (Galamian, 1985, p. 56). He also notes:

In addition, the accompanying change in the
position of the sounding (contact) point in
itself brings about a change in color: the
nearer the bridge, the brighter the color,
the more incisive the timbre; in the neigh-
borhood of the fingerboard, the color is
paler, more delicate and pastel-like^
(Galamian, 1985, p. 62)

Galamian suggests that the student experiment with notes

of equal duration while alternately maintaining and

changing the pressure, bow stroke speed and contact point

He then suggests taking notes of unequal duration and,

in turn, retaining and then varying the dynamic level

(Galamian, 1985, p. 60). Applebaum talks of five "lanes"

between the fingerboard and the bridge, suggesting that

the student experiment to find the best lane for each

type of bow stroke and dynamic level (Applebaum, 1986,

pp. 118-119). Flesch states:

The unhindered freedom of movement on the

part of the bow between bridge and fingerboard
 58
therefore, must be insisted upon as the
fundamental law for a purity of vibrations
which does justice to all bowing combinations,
as well as to all degrees of power and pitch.
(Flesch, Book 1, 1939, p. 82)

New Rhythms and Meters

At the intermediate level, the violin student will

encounter new rhythms and new meters. Appropriate bow
distribution is essential for the correct performance
of all rhythmic figures, and Galamian's suggested exer-
cises outlined above can be adapted for teaching the
new rhythmic figures encountered. In addition, rhythm
games such as those used by Kodaly, Dalcroze, and Orff
in beginning rhythmic instruction can be adapted to the
violin, as exemplified by the example below from Rolland's
The Teaching of Action in String Playing.
RHYTHM PULSE
Qap (wave in rests)
Use syllables (Taa-ta-ta, etc.) Bend knees slightly
Practice "Tapping" Tap with a pencil
Play pizzicato Step in place
Play open strings with the bow
Play scales and arpeggios with the bow

(Rolland, 1974, p . 47)

Portato
Portato is a bowing technique where a number of notes

are played in a single stroke, each note being separated

by a distinct pulse or an extremely slight pause. Thus,

It stands exactly midway between legato and

genuine staccato; the various notes are
separated one from the other by a hardly
noticeable pause, the elastic pressure does
 59

not take place during the pause, but on the

individual note itself. It is expressed in
notation as follows:

190

(Flesch, Book 1, 1939, p. 73)

"The inflections may follow one another without a

stop . . . to bring slurred legato notes into more

expressive relief, or the single notes may be slightly

separated. . . . " (Galamian, 1985, p. 6 8 ) . The pulses

are "achieved by a slight increase--then decrease--of

first finger pressure" (Oddo, 1979, p. 112). Menuhin

suggests considering also third finger and thumb pressure

and release (Menuhin and Primrose, 1976, p. 73-74).

Thus, there is an initial swell followed by a gradual

decrease in sound. Flesch regards the portato as an

important exercise to be studied when a student exhibits

insufficient bow pressure on the upper part of the bow,

since the portato itself gives the bow the desired quality

of elastic adherence to the string. He goes on to say

that "the stroke must possess a soft, singing character,

without pressure pause. The elastic pressure is made upon

the note itself, and not as in the staccato between the

notes" (Flesch, Book 1, 1939, p. 8 5 ) .

Double Stops and Chords

A chord is any combination of notes played simulta-

neously, restricted to a maximum of four notes on the

 60
violin. A double stop is a chord of two notes, played
on two adjacent strings.

"Sustaining a clear and balanced tone for the double

stop is achieved by establishing the correct bowing plane
between strings, determining the proper amount of bow
weight, and drawing the bow perfectly perpendicular to
the strings" (Oddo, 1979, p. 122).

Applebaum's exercises, mentioned previously on page

46 will also serve for right hand practice in playing
double stops.

Two principle types of chords are used in the inter-

mediate violin repertoire: (1) the broken chord in which
the lower notes are played before the beat and the upper
notes arrive on the beat; and (2) the unbroken chord in
which all notes are played simultaneously.

In type one, the lower notes receive very little

bow and are usually played very near the frog.

The action involved in the breaking of chords
is chiefly centered in a downward motion of
the whole arm together with a supination of
the forearm as the crossing is made. The
elbow drops slightly before the actual
breaking of the chord. (Galamian, 1985,
p. 89)
Flesch indicates the possible ways in which a three-

note chord may be broken:

Notntion Execution

260. p yjLj^y^^d^j^a^j
 61
"Here No. 5 in Example 260 represents the only correct
way of arpeggiating, since the chord is divided into
two double-stops, and hence has more of a chordal char-
acter than in the other examples" (Flesch, Book 1, 1939,
p. 84) .

He further illustrates the ways in which a four-note

chord may be broken:
Notation Execution
1

261.

7
iv
8 10
a.

pf^?n^[----\^f^f\
Flesch contends that the correct breaking of the chord

is with the division of 3:2, noted in the last of the

ten ways. Exceptions to this may be made only where

the melodic line demands the stressing of a certain note,

or in the piano dynamic level, where the chords must be

arpeggiated (Flesch, Book 1, 1939, p. 84). Applebaum

agrees with Flesch in the correct method of breaking or

arpeggiating chords (Applebaum, 1986, pp. 57-58). In

connection with the broken chord, the point of contact

must change during the stroke--with the bottom notes being

played near the fingerboard and the top sustained notes

near the bridge.

Unbroken chords are possible with three note chords,

with this type of chord being preferable according to

Flesch (Flesch, Book 1, 1939, p. 83).

 62

The best way to produce the simultaneous

attack of the three-note chord is to suspend
the bow slightly above the middle string,
then to drop it straight down for a good
solid grip on the strings. Pressure has to
be sufficiently great to depress the middle
string far enough for the neighboring strings
to be properly contacted and sounded by the
bow . . .

The movement is performed by the whole arm,

but the dropping must be made with flexible
. . . springs and must land on a well-chosen
sounding point. (Galamian, 1985, p. 90)

Spiccato
Spiccato is a bowing technique performed by bouncing

the bow for each separate note. With the bow held above

the string, the forearm drops the bow against the string

in a swinging or arclike movement. The natural spring

of the bow will result in an automatic rebound off the

string in fast tempi. At slower speeds, there must be

an assisting lift with the arm. The precise point of

contact is determined by tempo and dynamics (Oddo, 1979,

p. 114). "Tone quality and dynamics will also be

influenced by the height of the drop: the higher the

starting point, the louder and, in general, the sharper

will be the resulting sound" (Galamian, 1985, p. 75).

While the main impulse for the spiccato comes from

the arm, the hand and the fingers participate with a

"combination of the vertical and the horizontal motions

for the hand and the vertical motion of the fingers.

. . . The greater the speed, the more the center of

 63

action will shift from the arm toward the hand and

fingers" (Galamian, 1985, p. 76). It is best to keep the

bow close to the strings, especially during string cross-

ings. Havas talks of the pendulumlike movement of the

upper arm as being the basis of the spiccato (Havas,

1963, p. 49). Dounis calls for the active use of finger

movement as well as wrist and arm movement (Leland, 1963,

p. 29) .

Galamian and Applebaum recommend starting the prac-

tice of the spiccato in the lower part of the bow with

broad, flat strokes--the arm leading and the hand and

fingers following and kept very flexible (Galamian, 1985,

p. 77; Applebaum, 1986, pp. 96-97). Menuhin prefers to

start with a ricochet stroke, proceeding to continuous

bouncing with four notes per bow stroke and gradually

reducing the number of notes per stroke until a true

spiccato is achieved (Menuhin, 1971, pp. 96-97).

Flesch notes the variety possible in the spiccato:

In a piano the middle is best used:

Bach, Son.O-min. 20 Movf

211.
f^^^ rjj; m-^-M
^ ^

In the forte, the lower third of the bow:

yfnziirl, Soil. E-niiii. 19 Movt.

-- i^^jJJJI-^JJ^JIj
 64

In the pp at the point:

_^ n V /hi(/<tnf,i, F-m.ij. Son. 39 Mov't.
I I/' • • • ^ •

pp
At times i t is played very shortly, as in:
Beethoven, Son. A-maj. Op. 12, N9 2

^^•fhji
or, between short and long:

senile

(Flesch, Book 1 , 1 9 3 9 , p . 7 7 ) .

The Flying Staccato

The flying staccato represents a combination of

the staccato with the spiccato, since there are a number

of short notes played in a single bow stroke, with the

bow leaving the string after each note. "It differs

from the ordinary staccato owing to the fact that the

raising and dropping of the bow is substituted for bow

pressure" (Flesch, Book 1, 1939, p. 77). Flying stac-

cato is usually done on the up-bow, with only a slight

lifting motion, the movement remaining essentially hor-

izontal. "If it is marked piano, use mostly the hand

and the fingers, with a slight use of the upper arm.

For dramatic passages in "fortissimo" play it close to

the frog with . . . the entire arm in the shoulder joint"

(Applebaum, 1986, p. 100).

 65
"Executed in a virtuoso manner it may pro
duce a charming effect:
FienxtenyM, Fantasie-Capriee
18. jjji^^irp-t^gpp-f
Saint-Saeng, H-ivaoaise

2IP.

It is used almost exclusively in the middle

. . ." (Flesch, Book 1, 1939, p. 77).

To practice the flying staccato it is best

to start with a firm up-bow staccato; then,
after this motion is well under way, lighten
the hand by lifting the elbow and wrist,
and add a small amount of vertical finger
motion, which will help the bow bounce off
the strings after each note. . . . In most
cases, the horizontal finger motion will
play an important part, with the hand follow-
ing flexibly and the arm acting in continuous
motion. The fingers recover slightly after
each individual stroke, in a flexible rebound.
(Galamian, 1985, pp. 80-81)

Changing From a Slur to Spiccato

This is a type of mixed bowing where more than one

right arm technique is required in quick succession.

The slur, of course, is played with the bow on the string.

For a graceful performance and to arrive at the best

part of the bow for spiccato technique, the first of

the spiccato notes is played smoothly, lifting the bow

after it is played (Applebaum, 1986, p. 101). This

procedure is used for both spiccato and flying staccato

occurring after a slur.

 66

Flesch states:

The use of such bowings is determined by a

division of the bow (distribution) which
ought to be tonally as well as musically free
from objection. . . .
Sni,tf-Soi',ii, C*P, J? Mnx\

^ ^ ^e^i^iff(•(*•« *
: s . . ^ ^ ^ ^ ^ ^
^i^

No more bow should be expended on the tied

notes than upon each of the detached notes.
(Flesch, Book 1, 1939, p. 154)

Martele

Martele is a short, fast bow stroke on the string,

separated from the preceding and following strokes by a

plainly noticeable pause or rest. It is performed in

the middle to upper part of the bow.

Oddo gives the following instructions for martele:

At the start of each stroke, press the bow

into the string with a slight rotation of
the forearm and hand; pull the bow quickly
and release the pressure at the same time.
The motion must end with a clean stop before
changing bow direction. (Oddo, 1979, p. 110)

Flesch (Flesch, Book 1, 1939, p. 6 8 ) , Applebaum

(Applebaum, 1986, p. 9 6 ) , Menuhin (Menuhin, 1971,

pp. 94-95) and Havas (Havas, 1961, pp. 51-52) describe

the motion in similar terms, noting that the pause between

each note is used to exert pressure on the string with

the bow. Flesch calls this the pressure pause.

The mechanics of this kind of stroke . . .

consist of the combination of an almost hori-
zontal movement of the lower arm (during the
stroke) with a slight inward and outward
 67
turning of the lower arm, before and after
the pressure pause in the elbow-joint.
(Flesch, Book 1, 1939, p. 68)

Galamian notes that the wrist should be somewhat

lower and the forearm slightly pronated, especially at
the point. He refers to the pressure as the bow pinching
the string before starting to move, and emphasizes that
the pinch must last "just long enough to produce the
necessary accentuation at the beginning of the tone"
(Galamian, 1985, p. 71).

Rolland suggests beginning instruction by asking

the student to "press the hair into the string near the
balance point. Play two martele strokes on the same
bow, starting each note with a *pop.' Use less than an
inch of hair for each note" (Rolland, 1974, p. 142).

The martele is one of the most fundamental of all

strokes. "Its mastery will benefit the right hand tech-
nique well beyond the limit of this particular bowing"
(Galamian, 1985, pp. 70-71).

Combination Skills

A combination skill is the coordination required

to perform fast left hand passages that include string

crossings and quick bow changes for the right arm.

Since each appearance of the skill is different, it is

impossible to indicate a specific fingering or bowing

exercise that will teach the skill. However, Galamian

suggests that "each difficulty should be isolated and

 68

reduced to its simplest terms so that it will be easier

to devise and to apply a practice procedure for it"

(Galamian, 1985, p. 99). An example of this procedure

is given earlier in Principles of Violin Playing and

Teaching:
Coordination problems created by fast passages
with string crossings can best be approached
by first isolating the string-change pattern
and then practicing it on the open strings.
The measure in Example 43, for instance,
will yield to the string-change pattern shown
under Example 44.
EiompU 43
Bruch: Conc«rfo In G minor, Op. 26

ExampJ* 44

(Galamian, 1985, p. 66).

Interpretive Skills
Interpretation requires the performer to make

decisions regarding the musical rendition of a piece.

Such decisions are determined by, among other criteria,

the era in which the piece was composed, the character

of the piece, the tempo, and the dynamics required.

Galamian states "interpretation is the final goal of

all instrumental study, its only raison d'etre" (Galamian,

1985, p. 6 ) . A player must not only possess good

 69
technique, he must also "understand the meaning of the
music thoroughly, must have creative imagination and a
personal emotional approach to the work" (Galamian, 1985,
p. 6 ) . Applebaum suggests that much can be done to help
the student become emotionally involved in the music:

1. a pupil must know exactly what the emo-

tional message is; once the teacher describes
the emotion, it will most likely remain with
the pupil;

2. the student should develop a very large

vocabulary of descriptive words;

3. pupils must learn to become emotionally

and interpretively very flexible. (Applebaum,
1986, p. 188)

Applebaum also suggests that the teacher develop alter-

natives, creating different ways to present material.

Finally, he recommends that the teacher develop in the

student an aesthetic sense by patient suggestion and

model, and encourage the student to attend live concerts

as often as possible (Applebaum, 1986, pp. 188-189).

Galamian recommends encouraging the development of

individuality in students, and discourages the teacher

from imposing his interpretation upon all students

(Galamian, 1985, pp. 8-9). Flesch believes that true

art is based upon sound technique. He states "only

perfected mental and physical control of the separate

disciplinary units, collectively known as technique,

offers us a guarantee for the realization of our artistic

intentions" (Flesch, Book 1, p. 171).

 70
Syllabi

A syllabus is a graded list of pieces, studies and

technique, representing sequential development of per-
formance skills. As such, it does not state explicit
goals for students, nor does it comprehensively list
technical or interpretive skills necessary to perform
the included material.

Four such lists for violin in current usage are

the American String Teachers Association (ASTA) String

Syllabus (String Syllabus. 1986), the Texas University

Interscholastic League (UIL) Prescribed Music list,

(Prescribed Music. 1986), the University of Toronto Royal

Conservatory of Music (RCMT) Violin Syllabus (Violin

Syllabus. 1979), and the Canadian Western Board of Music

(WB) Syllabus No. 2 (Syllabus No. 2. 1983). Although

presenting specific pieces, scales, and etudes instead

of a list from which materials may be chosen, the Suzuki

Violin School (SVS) (Suzuki, 1978), exemplifies many of

the features contained in the previously mentioned syl-

labi and therefore, is included in this discussion.

The syllabi and the Suzuki Violin School volumes will

be compared for (1) number of grades; (2) study reper-

toire, and characteristics of scale technique and solo

repertoire contained in each list; (3) theory and other

requirements for certificates; and (4) diplomas offered.

 71

Figure 5 summarizes the number of grades and the

certificate requirements of the systems.

Syllabus ASTA RCMT SVS UIL WB

Number of
Grades 11 10 12
Theory
Required no yes no no yes
Ear Tests
Required no yes no no yes
Sight Reading
Required no yes no no yes
Certificates
Awarded no yes yes yes yes
Diplomas
Awarded no yes no no yes

Figure 5: Number of Grades and Certificate

Requirements of Five Music Systems

Number of Grades

The SVS is based on the principle of sequential

skill development. It includes ten volumes, each con-

taining a varying number of required pieces and scales.

Each volume is designed to account for approximately

one year's study.

The UIL list contains three "classes" of solo reper-

toire only. The RCMT Violin Syllabus contains eleven

grades, the ASTA String Syllabus contains six levels

 72
and the Western Board Syllabus No. 2 contains twelve
grades. These latter three syllabi list solo repertoire,
etude books, and required scales and arpeggios specific
to each grade. The following comments are appropriate
for all three syllabi:

1. Classification of materials into specific

grade levels has been based on the recommen-
dation of experienced teachers who have helped
to collect the material presented . . .

2. There is more material in each grade level

than needed by any one student at that par-
ticular level. It is up to the teacher to
make an intelligent choice from the many
suitable and good materials listed in the
book. (String Syllabus. 1975, p. iii)

Etudes, Scale Technique and Repertoire

Etudes

Etudes and scales are excluded from the UIL list.

Etudes are included in each SVS volume as previews

required for specific skills needed for ensuing pieces.

The Advanced and Young Artist levels in the ASTA syllabus,

Grades Eight through Twelve in the WB syllabus, and Grades

Eight through Eleven in the RCMT syllabus recommend, among

others, the following books of etudes:

F. Fiorillo - 36 ftudes

R. Kreutzer - 42 Studies

P. Rode - 24 Etudes and Caprices

P. Rovelli - 12 Caprices

J. Dont - 24 Etudes and Caprices, Op. 35

 73
P. Gavinies - 24 Studies

0. Sev^ik - School of Technic. Op. 1 and Op. 8

C. Flesch - Scale System

In Grades Four through Seven in the RCMT and WB syllabi,

and Intermediate A and B levels in the ASTA syllabus, the

following etude books are recommended:

H. E. Kayser - 36 Studies. Op. 20

J. F. Mazas - 75 Melodious and Progressive Studies,

Op. 36, Book 1

J. Dont - 24 Studies. Op. 37

F. Wohlfahrt - 60 Studies. Op. 45

H. Kinsey - Elementary Progressive Studies, Set 3

The H. Kinsey sets of Elementary Progressive Studies,

among others, are recommended in the earlier grades and

levels by the ASTA, RCMT and WB.

Scale Technique
No scale requirements are included in the UIL

listing. The SVS introduces new scales just prior to

their use in the pieces included in each volume. There

is more divergence in the sequence of scales and arpeggios

among the three syllabi than for etudes. The ASTA intro-

duces three octave scales in the Intermediate B level,

whereas the RCMT and WB wait until Grade Seven. However,

both the RCMT and WB introduce dominant seventh and

diminished seventh broken chords well before the ASTA.

Scales in double stops and shifting during scales are

 74

introduced in all three systems at about the same point.

The scales in Grades One through Three in the RCMT and

WB syllabi, and Elementary A and B in the ASTA syllabus

are all performed in first position.

Repertoire

The SVS includes in each volume the pieces required

for that level. The pieces are to be learned in sequence,

since each piece builds upon a skill learned previously

and/or introduces a new skill. In the other four lists,

pieces in each grade or class are somewhat equal in dif-

ficulty. In the UIL list. Class I contains the most

difficult pieces and Class III the easiest pieces. The

ASTA, RCMT and WB start with the easiest pieces in Grade

One or Elementary A and build toward the most difficult

in the Young Artist level or Grade Eleven or Twelve. An

analysis of the repertoire contained in the five lists

reveals that the vast majority of pieces listed in Class

I in the UIL list. Volumes Eight to Ten in the SVS, Grades

Eight through Twelve in the WB syllabus. Grades Eight

through Eleven in the RCMT syllabus and Advanced and Young

Artist levels in the ASTA syllabus appear on programs

of public recitals and concerts given by professional

performing artists. The repertoire in Class II in the

UIL list, in Volumes Four through Seven in the SVS, Grades

Four through Seven in the RCMT and WB syllabi and Inter-

mediate A and B levels in the ASTA syllabus require.

 75

among other skills, development of shifting, vibrato

and the playing of double stops in the left hand, and

the development of martel^, spiccato, and the playing

of chords and arpeggios in the right arm. Class III in

the UIL list. Volumes One through Three in the SVS, Grades

One through Three in the RCMT and WB syllabi and Elemen-

tary A and B levels in the ASTA syllabus contain short

pieces designed to develop beginning or foundation skills

in violin playing. These pieces can be performed entirely

in first position.

Theory and Other Requirements

The UIL list requires only the performance of solo

repertoire, excluding all other requirements. The SVS

and the ASTA, likewise, have no additional requirements

to those contained in their respective volumes or lists.

The RCMT has five levels of Theory--Preliminary Rudi-

ments, Grade I Rudiments, Harmony, History, and

Counterpoint and Analysis. These examinations are

required beginning with the Grade Five practical exam-

ination. In addition, the practical examination includes

ear tests and sight reading. The WB requirements are

similar to those of the RCMT, with two additions: the

last three theory examinations include aural musicianship,

and beginning with the Grade Three practical examination,

a student must answer questions on the form and composers

of the pieces that he/she has played for the examination.

 76
Certificates and Diplomas Offered

With the single exception of the ASTA, the graded

systems discussed in this chapter offer certificates to
students who successfully complete the requirements of
each grade, class, level or volume. In addition, the
RCMT offers the Associate diploma (ARCT) either as
Performer or Teacher for those candidates who have suc-
cessfully completed Grade Eleven. The WB offers the
Associate diploma (A. Mus.) for Performer, Teacher, or
Teacher/Performer for those candidates who have completed
Grade Eleven, and the Licentiate diploma (L. Mus.) for
those who successfully complete Grade Twelve.

Summary

The printed pedagogical literature examining the

skills required in the selected pieces has been reviewed

in this chapter, citing those pedagogues of this century

who have established reputations with long standing

experience in teaching and/or have presented the results

of significant research into the intermediate level violin

skills encompassed by the selected pieces. The review

considered in order the left hand skills, right hand

skills, combination skills and interpretive skills

required in the selected pieces. The majority of the

literature reviewed considered the required skills at

inappropriate levels--either the beginning level or the

advanced level. However, the suggestions contained in

 77
the review can be altered in such a way as to be made
appropriate for the intermediate level. This has been
done in Chapter IV.

An analysis of five lists of graded repertoire

revealed many similarities in repertoire and technical

requirements. Differences can be attributed to a slightly

different approach to the sequencing of skill learning.

However, all systems reach the same general level at

about the same point in study. Three of the syllabi--

the ASTA, RCMT and WB--provide suggested scales and other

technical material for study along with lists of reper-

toire. Certificates of attainment are offered by all

the systems except the ASTA. Only the RCMT and WB require

theory, ear training and sight reading to accompany prac-

tical examinations. Diplomas are offered by the RCMT

and WB.
 78

Notes

Applebaum, Samuel. The Art and Science of String

Performance. Sherman Oaks, CA: Alfred Publishing
Company, Inc., 1986.

Dont, Jakob. 24 Etudes and Caprices. Op. 35. New York:

International Music Company, 1952.

. 24 Studies. Op. 37. New York: International

Music Company, 1955.

Fiorillo, Federigo. 36 Etudes. New York: International

Music Company, 1956.

Flesch, Carl. The Art of Violin Playing. 2nd Revised

Edition. New York: Carl Fischer, Inc., 1939.

. Scale System. New York: Carl Fischer, Inc.,

1926.

Galamian, Ivan. Principles of Violin Playing and

Teaching. 2nd Edition. Englewood Cliffs, N. J.:
Prentice Hall, Inc., 1985.

Gavinies, Pierre. 24 Studies. New York: International

Music Company, 1936.

Havas, Kato. A New Approach to Violin Playing. London:

Bosworth and Company, Ltd., 1961.

Kayser, H. E. 36 Studies, Op. 20. New York:

G. Schirmer, 1923.

Kinsey, Herbert. Elementary Progressive Studies,

Sets 1 to 3. London: Associated Board of Royal
Schools of Music, 1963.
Kreutzer, Rudolphe. 42 Studies. New York: International
Music Company, 1936.

Leland, Valborg. The Dounis Principles of Violin Playing.

Their Meaning and Application. London: The Strad,
1963.

Mazas, J. F. 75 Melodious and Progressive Studies.

Op. 36, Book 1. New York: International Music
Company, 1936.

Menuhin, Yehudi. Six Lessons with Yehudi Menuhin.

New York: W. W. Norton and Company, 1971.
 79
Menuhin, Yehudi and William Primrose. Violin and Viola.
London: Macdonald and Jane's, 1976.
Oddo, Vincent. Playing and Teaching the Strings.
Belmont, CA: Wadsworth Publishing Company, 1979.
Prescribed Music. For School Years Beginning 1987 through
1990. The University Interscholastic League.
Austin, TX: The University of Texas, 1986.
Rode, Pierre. 24 Etudes and Caprices. New York:
International Music Company, 1962.

Rolland, Paul. The Teaching of Action in String Playing.

Urbana, IL: Illinois String Research Associates,
1974.

Rovelli, Pietro. 12 Caprices. New York: G. Schirmer,

1939.

Sevcik, Otakar. School of Technic, Op. 1. New York:

Carl Fischer, Inc., 1901.

. School of Technic, Op. 8. New York:

Carl Fischer, Inc., 1901.
String Syllabus. Revised 1975. Urbana, IL: American
String Teachers Association, 1975.
Revised 1986. American String Teachers Asso-
ciation. Blooraington, IN: Frangipani Press, 1986.
Suzuki, Shinichi. Suzuki Violin School. Ten Volumes.
Princeton, N. J.: Summy-Birchard Music, 1976.

Syllabus No. 2. 1983 Issue. Edmonton, AB: The Western

Board of Music, 1983.
Violin Syllabus. 1979 Issue. Toronto, ON: Royal Con-
servatory of Music, 1979.
Wohlfahrt, Franz. 60 Studies, Op. 45. New York:
G. Schirmer, 1925.

Yampolsky, I. M. The Principles of Violin Fingering.

London: Oxford University Press, 1967.
 CHAPTER III

SELECTION OF PIECES AND SKILLS

This chapter discusses the processes used to select

the pieces to be analyzed and to ascertain the skills

required to perform the selected pieces successfully.

Skills expected of students who have completed the

beginning level of instruction are listed. A comparison

of five lists is made regarding their beginning, inter-

mediate and advanced grade levels. The performance

frequency of some pieces on Western Board violin examina-

tions is noted and the pieces selected to be analyzed

are identified. Finally, the required skills in the

selected pieces are listed.

Selection of Pieces

Determination of Intermediate Level

Intermediate level has been determined by survey-

ing The Western Board of Music panel of experts. The

panel members were requested to identify those skills

expected of a student who had completed the beginning

level of instruction and was ready for the intermediate

grades. Their comments on expected skills, noted in

Figure 6, were used for comparing technical requirements

and solo material in graded lists published by the UIL,

ASTA, RCMT and WB, as well as the SVS solo material.

80
 81

Left Hand Right Hand

Hold violin correctly Hold bow correctly

Form proper hand shape Draw the bow straight

between frog and tip
Accurate finger placement
Elementary rhythmic
All 1st position notes combinations
on each string in tune
Son file
Single note grace-notes
Detache, Legato, Martele

Elementary double stops Slurred legato string

crossings
Finger preparation technique
Down-bow accents

Pizzicato
Elementary double stops

Figure 6. Expected Skills at Completion

of Beginning Level

These students are able to play major and melodic minor

scales, studies and pieces having up to four sharps and
three flats in first position. They can read music,
observe dynamic markings, execute martel^, legato and
detach^ bowing articulation markings and observe repeat

signs.
The Western Board panel of experts was also requested

to identify characteristics of advanced level repertoire.

They made the following observations: (1) the advanced

level repertoire forms the content of programs by concert

 82

violinists; (2) the repertoire has been recorded by

international artists; (3) the required technique

represents the pinnacle of technical development;

(4) the repertoire is physically demanding to perform;

and (5) a mature interpretation is a necessity for a

satisfying performance. These characteristics were

used as a basis for comparing advanced level grades in

the previously mentioned lists.

The panel of experts was requested to identify the

intermediate level in the Western Board violin syllabus,

for comparison with similar repertoire and technical

material in the UIL, ASTA, RCMT and SVS lists. The

intermediate level lies between the beginning level and

the advanced level. The intermediate repertoire requires

the development of new competencies that build upon those

skills learned in the beginning level. There are some

moderately difficult technical passages and the inter-

mediate repertoire requires more attention given to

interpretation than the repertoire in earlier grades.

There is a gradual and systematic development of the

skills required for successful performance at the

advanced level.

Figure 7 summarizes the designation of grades con-

tained in the five lists of repertoire into levels of

instruction. For the purposes of Figure 7, grade refers

to Class for the UIL and Volume for the SVS.

 83

Syllabus Beginning Intermediate Advanced

Grades Grades Grades

ASTA Elementary A Intermediate A Advanced

Elementary B Intermediate B Young Artist
RCMT 1 - 3 4-7 8-11
SVS 1 - 3 4-7 8-10
UIL III II
WB 1 - 3 4-7 8-12

Grade 11 in the RCMT, Grades 11 and 12 in the WB, and

Young Artist in the ASTA syllabi contain more difficult
pieces than Volume 10 in the Suzuki Violin School or
Class I in the UIL list.

Figure 7. Levels of Violin Instruction

in Five Music Syllabi

The categorization of these grades and the foregoing

rationale for determining intermediate level was substan-

tiated by all of the Western Board of Music examiners

surveyed.

Selection of Pieces
Although the intermediate level provides a wide

variety of repertoire, that included in The Western Board

of Music syllabus is in widespread use in western Can-

ada. A number of violin teachers in western Canada

expressed interest in a study analyzing repertoire from

the syllabus, particularly if the repertoire chosen was

readily available and had been chosen often by students

 84
in the past. Therefore Western Board of Music violin
candidates' entry sheets for the examination periods
(February and June examinations) from 1978 to present
were examined. Figures 8, 9, 10 and 11 show the frequency
of performance for the eight most often performed pieces
in each of the intermediate grades--Grades Four to Seven.
To ensure a balanced representation of skills from each
of the four grades in the intermediate level, the three
most frequently performed pieces from each grade were
chosen for analysis. These selected pieces, along with
the grade from which they were chosen and their publisher,
are listed in Figure 12.

Title Composer Frequency

Rondo, Op. 22, No. 3 Rieding 35

Brother James' Air Anonymous 28

Suite in G Telemann 21

Bourree Henry 17

Playful Rondo Green 15

Gavotte in D Bach-David 12

A Fiddle Tune Driver 11

A Pirate Bold Coutts 10

Figure 8: Frequency of Performance

Grade Four WB Examination Pieces
1978 to Present.
 85

Title Composer Frequency

Air Varie, Op. 23, No. 3 Rieding 28

Giguetta J. S. Bach 21
Daussila Jaque 17
Minuet C. P. E. Bach 14
Quiet Song Adaskin 12
Minor Mode Blachford 11
Andante Cantabile Tartini 11
Gavotte in F Martini 10

Figure 9: Frequency of Performance

Grade Five WB Examination Pieces
1978 to Present.

Title Composer Frequency

Minuet in G Beethoven 19

Concerto No. 2, Op. 13 Seitz 17

«^_^
La Legere Fiocco 15

The Swan Saint-Saens 14

Sonata No. 8 Corelli 12

Concertino Op. 6, No. 2 Huber 12

Mazurka Blachford 10

Andantino (style of Martini) Kreisler 10

Figure 10: Frequency of Performance

Grade Six WB Examination Pieces
1978 to Present.
 86

Title Composer Frequency

Sonata in Bb Arne 32

Evening in the Village Bartok 27

Allegro Spiritoso Senaille 24

Adoration Borowski 19

Country Dance Heins 17

Rondino (theme of Beethoven) Kreisler 16

Sonata No. 1 Telemann 14

Tambourin Mondonville 12

Figure 11: Frequency of Performance

Grade Seven WB Examination Pieces
1978 to Present.

Title Composer Grade Publisher

Rondo, Op. 22, No. 3 Rieding 4 Bosworth

Brother James' Air Anonymous 4 Oxford
Suite in G Telemann 4 Schott

Air Varie, Op. 23 No. 3 Rieding 5 Bosworth

Giguetta Bach 5 C. Fischer
Daussila Jaque 5 Berandol

Minuet in G Beethoven 6 Harris

Concerto No. 2, Op. 13 Seitz 6 Schirmer
La Legere Fiocco 6 Schott

Sonata in Bb Arne 7 Oxford

Evening in the Village Bartok 7 Boosey
Allegro Spiritoso Senaille 7 Schirmer

Figure 12: Pieces Chosen for Analysis

 87

Selection of Skills

The selected pieces were analyzed for technical

and interpretive skills. Six approved examiners for

the Western Board, two from each prairie province, who

had examined violin candidates since 1978 formed a panel

of experts. The panel was sent copies of the selected

pieces with a request to notate the technical and inter-

pretive skills required for successful performance of

the selected pieces. The panel was also requested to

indicate and comment on any specific spots in the pieces

that gave candidates trouble during the examinations.

Subsequent to the distribution of copies of the pieces,

four of the experts were interviewed personally (three

in Calgary and one in Medicine Hat) to discuss their

responses and to clarify required skills and trouble

spots. During these interviews, the experts often

reflected on their teaching experiences with the pieces

as well as about particular examination incidents. The

remaining two experts (from Brandon and Winnipeg) were

interviewed by telephone.

Figures 13 to 16 illustrate the left hand, right

hand and interpretive skills required in the Grade Four

through Seven selected pieces, as indicated by the panel

of experts. These skills are analyzed and discussed in

detail in Chapter IV. Appendix C contains a list of

skills required in each of the selected pieces.

 88

Left Hand Right Hand

Finger preparation Slurred legato string

cross ings
Shifting
Accents
Trills and Mordents
Bow distribution
Irregular placing
of a finger New rhythms

Vibrato Portato

Figure 13: Required Skills

Grade Four Pieces

Left Hand Right Hand Interpretive

Finger preparation Slurred legato Baroque style

string crossings
Shifting AABA form
Accents
Finger Facility Theme and var-
Change in contact iation form
Harmonics point for dynamics

Chords

Figure 14: Required Skills

Grade Five Pieces
 89

Left Hand Right Hand Interpretive

Finger preparation Slurred legato Rubato

string crossings
Shifting Concerto form
Portato
Finger Facility Cadenza
Change in contact
Double Stops point and dis- Bowing articu-
tribution Iation deci-
sions
Spiccato

Change from a slur

to spiccato

Figure 15: Required Skills

Grade Six Pieces

Left Hand Right Hand Interpretive

Finger preparation Slurred legato Rubato

string crossings
Shifting Baroque phrasing
Martele
Finger Flexibility Ornamentation
Bow distribution
20th Century
Accents idiom

Spiccato

Figure 16: Required Skills

Grade Seven Pieces
 90
Summary

In this chapter the processes used to determine

intermediate level, the pieces to be analyzed and the

required skills in the selected pieces were discussed.

Intermediate level was determined by interviewing a panel

of experts composed of approved Western Board examiners

who had examined violin candidates during the past decade

This panel was asked to define the expected skills of a

student who had successfully completed the beginning

level of instruction, the characteristics of advanced

level repertoire and the skills that should be developed

during the intermediate stage of instruction. These

responses were compared with designations in five graded

lists--the ASTA syllabus, the UIL list, the SVS volumes

of material, the RCMT syllabus and the WB syllabus. It

was determined that Grades Four through Seven in the WB

syllabus comprise the intermediate level.

The pieces to be analyzed were selected by examining

violin candidates' entry forms for WB examinations for

the past decade. The three most frequently performed

pieces from each intermediate grade were chosen for analy-

sis of required skills. The required skills were chosen

by the panel of experts after analysis of the pieces.

The chapter summarizes the finding through the use

of figures.
 91
Notes

Prescribed Music. For School Years Beginning 1987 through

1990. The University Interscholastic League.
Austin, TX: The University of Texas, 1970.

String Syllabus. Revised 1986. American String Teachers

Association. Bloomington, IN: Frangipani Press,
1986.

Suzuki, Shinichi. Suzuki Violin School. Ten Volumes.

Princeton, N. J.: Summy-Birchard Music, 1976.
Syllabus No. 2. 1983 Issue. Edmonton, AB: The Western
Board of Music, 1983.
Violin Syllabus. 1979 Issue. Toronto, ON: Royal
Conservatory of Music, 1979.
 CHAPTER IV

ANALYSIS OF PIECES

SELECTION OF STUDIES AND EXERCISES

In this chapter, the techniques necessary for the

successful performance of each piece are analyzed and

discussed. A brief summary of beginning level technique

is followed by an analysis and discussion, by grade, of

the requisite skills encountered in the selected pieces.

Within each grade, the analysis and discussion of skills

is done in the following order: (1) left hand;

(2) right hand; (3) combination; (4) interpretive; and

(5) trouble spots (spots in each piece that are difficult

for students) identified by the Western Board of Music

examiners in their personal interviews. Wherever pos-

sible, appropriate published studies are cited following

the discussion of each skill. Short preliminary exer-

cises that preview specific skills and assist in

alleviating potential trouble spots are also provided

and discussed, when appropriate. This organization was

chosen to facilitate accessibility of examples and exer-

cises by teachers. Students develop techniques for

both hands as well as interpretive skills in each grade.

A teacher may need help with a particular technique at

a specific grade level. Thus, organization by grade is

preferable to one by skill since it more nearly approxi-

mates the usual teaching and learning procedure.

92
 93

Summary of Beginning Skills

A student who has successfully completed the Western

Board of Music Grade Three violin examination has fin-

ished the beginning level of instruction. Considering

the left hand, this student is able to: (1) correctly

hold the violin to give the optimum conditions for good

intonation and tone; (2) form a proper hand shape;

(3) place the fingers accurately on the string and lift

them from the string with an efficient motion; (4) play

all first position notes on each string in tune;

(5) play single note grace-notes; (6) play elementary

double stops of relatively long duration; (7) employ

elementary finger preparation techniques; and (8) play

elementary rhythmic combinations.

Concerning the right hand, the student who has

successfully completed the Western Board of Music Grade

Three violin examination should be able to: (1) hold

the bow correctly with a firm yet flexible grip;

(2) draw the bow straight between the frog and tip at

various lengths; (3) play with a good sustained violin-

istic sound; (4) execute the detache and staccato

strokes; (5) play downbow accents; (6) play double stops;

(7) play slurs of up to four notes on one string or

crossing between two adjacent strings; (8) play pizzi-

cato, both single notes and elementary chords; and

(9) play elementary rhythmic combinations.

 94
Much effort is spent at the beginning level of
instruction to ensure that the left and right hands
always coordinate their actions. This effort is con-
tinued at the intermediate level. However, in the
selected Grade Four pieces, there are no combination
skills required in which the left and right hand actions
must coordinate precisely in order to execute correctly
a musical passage that entails fast left hand action
along with string crossings and quick bow changes for the
right arm.

Beginning level students who have completed Grade

Three are able to play major and melodic minor scales,

studies and pieces having up to four sharps and three

flats in first position. They can read music, observe

dynamic markings, execute staccato, slur, and detache

bowing articulation markings and observe repeat signs.

These students may have encountered one or more Baroque

dance forms, as well as song and march forms. Therefore,

the student who has completed the Western Board of Music

Grade Three examination has acquired many important

basic skills. While progressing through the next four

grades, the intermediate level of instruction, the stu-

dent will encounter many additional demands and greatly

expand on the basic foundation acquired to date.

 95

Grade Four Skills

Grade Four is the first grade of the intermediate

level of instruction. In Grade Four, the student encoun-

ters a number of new skills required of both the left

hand and the right hand. There are no combination skills

required, but the Grade Four student may encounter a

number of new forms. As well, there is continued devel-

opment of the basic skills learned in the first three

grades and continued use of beginning level forms.

Left Hand Skills

For the left hand, there are five skills required

in the Grade Four repertoire: (1) finger preparation--

to ensure smooth string crossings; (2) shifting between

first and third positions; (3) executing the trill and

mordent; (4) the irregular placing of a finger; and

(5) vibrato.

Finger Preparation
Finger preparation as well as clear finger articu-

lation and rhythmically controlled finger action is

required in most violin repertoire at all levels. Finger

preparation is an essential skill if string crossings

are to be smooth, with as little break in sound as pos-

sible between strings, and without unwanted notes or

sounds. In Grade Four, this skill is further developed

by the addition of the fourth finger both as a finger

 96
of departure and a finger of arrival, by executing it

in slightly faster moving rhythms and tempi than was

required in previous grades, and by changing from an

upper string to a lower string as well as from a lower

string to an upper string.

An example of the technique of crossing from an

upper string to a lower string is shown in Example 1.

Example 1: 0. Rieding. Rondo, measures 9-11

In this example, unwanted noises could be heard when

crossing from the A string to the D string. This will

be caused by fingers accidentally touching the wrong

strings. The performer must ensure that the first finger

is touching only the A string and that the third finger

is touching only the D string if unwanted noises are to

be avoided. Also, the open A string sound may be heard.

If this happens, the first finger has been lifted while

the bow is still playing on the A string. Likewise,

the open D string sound will be heard if the third finger

is placed too late. To avoid hearing the open string

sounds, it is helpful to practice the placement of both

the first and third fingers on their respective strings

when the B in measure 10 is played. The string crossing

from the A string to the D string may then be made

 without the possibility of any unwanted open strings

sounding. Preliminary Exercise 1 previews this skill.

Preliminary Exercise 1: Finger Preparation

Upper to Lower String
a. I b.

In Part a, the fingers are placed together during

a rest inserted before the B is played. The G-B double
stop is then sounded and repeated until the placing of
the fingers feels comfortable and can be done with ease.
Then Part b is practiced, with the third finger being
placed with the first finger but not sounded until
desired. During performance, the third finger should be
placed well before it is needed for the G to sound.

Example 2 shows a spot where the string crossing is

from a lower string to a higher string.

Example 2: 0. Rieding. Rondo, measures 52-54

^ 5
^ ^ 4. i j i ' J $

If extraneous fingers are lightly touching the

strings, unwanted noises will be heard. The performer

must ensure that only the second finger is touching the

G string and only the first finger is touching the D

string. If the second finger lifts too soon, an open G

 98
string sound will be heard. If the first finger is
late in being placed, an open D string sound will be
heard. To avoid these unwanted sounds and ensure a
smooth string crossing, both the second finger and the
first finger should be placed simultaneously when the B
in measure 53 is played. Preliminary Exercise 2 out-
lines a procedure that will ensure correct execution of
this skill.

Preliminary Exercise 2: Finger Preparation

Lower to Higher String
\ 1
n
U a. b.

ii ^.ijil-:^ j:""'-4J^J j. ^
'
en
w
ii iUl^ fe
'ij
In Part a, a rest is inserted between measures 52

and 53, during which both fingers are placed in position

Then the double stop is sounded. This is repeated until

the execution feels comfortable. In Part b, the rest

is eliminated. In Part c, the first finger is posi-

tioned, but its note is not sounded until desired.

Finger preparation must also be used when an open

string is one of the notes in a string crossing. To

ensure that the finger does not touch the open string,

the elbow must move to the right further under the vio-

lin, and the finger must be placed slightly to the left

 99
of center of its strine on tVio ^-i v^ r? ^.u
ai-iing on tne tip. Furthermore, on
downward string crossings, the finger must be positioned
while the open string is being played to avoid the pos-
sibility of the finger being placed late and an unwanted
lower open string note being heard.
Since the fourth finger is shorter than the other
fingers, the same technique, including the elbow move-
ment, must be employed when it is used in a string
crossing to ensure that the possibility of unwanted
sounds is eliminated.
Example 3 shows a place where an open string is
one of the notes in a string crossing.
Example 3: Anonymous.
Brother James' Air, measures 8-10

f^f
^
f I \nr^ m
An unwanted noise will be heard instead of the

open A if the second finger in measure 9 accidentally

touches the A string. The second finger must be placed

on only the D string to sound the F# and must remain in

place until the open A string is sounding. In measure

10, an unwanted noise will be heard instead of the open

A if the third finger accidentally touches the open A

while being positioned for the third beat G. Here, the

third finger must be positioned while the open A is

being played, but placed only on the D string.

 100
Preliminary Exercise 3 shows an exercise to help achieve
correct finger placement.

Preliminary Exercise 3:
Finger Preparation--Open Strings

In Part a, a double stop F#-A is played to ensure

that the finger is correctly placed, followed by an

open A and then a third finger D. When the double stop

can be executed correctly. Part b is practiced as shown,

using the eighth note double stop figure in place of

the quarter note figure. This more nearly approximates

the written figure. When Part b can be played well,

measure 9 in the example should be performed without

problem. Parts c and d provide practice in the downward

crossing in measure 10. In Part c, a double stop G-A

is played to ensure correct finger placement, followed

by the third finger G. In Part d, while the third finger

is placed during the sounding of the open A, it is played

only on the third beat of the measure.

The use of the fourth finger in string crossings,

which is new to Grade Four, is shown in Example 4*

 101
Example 4: Anonymous. Brother James' Air,
measures 18-20

j^i a g r r i ^

Preliminary Exercise 4 shows a preview exercise that

should ensure the correct placing of the fourth finger
in measure 19 to avoid unwanted sounds.

Preliminary Exercise 4:
Finger Preparation--Fourth Finger

Ok..
n i 4^

fcz: ^ ^
±
In Part a, a double stop A-G is sounded to ensure

the correct placing of the fourth finger, followed by a

third finger F#. Once the double stop can be played as

desired, Part b should be practiced to ensure that the

fourth finger is placed during the sounding of the A.

During performance, the fourth finger may not be placed

exactly as in Part b, but should be in place well before

the third beat is reached.

There remains one more finger preparation type

that occurs in the Grade Four pieces. This is the

placing of one finger on two adjacent strings, shown in

Example 5.
 102
Example 5: G. P. Telemann.
Suite in G - Bourree,
measure 1

ft
^

Unwanted open string sounds will be heard, and

unwanted noises will result from any attempt to lift

the third finger from the D string after playing the G

and reposition it on the A string for the sounding of

the D. To avoid both of these unfortunate situations,

the third finger must be placed on both the D and A

strings immediately after the sounding of the open A.

As shown in Part a of Preliminary Exercise 5, a rest

should be inserted immediately following the open A.

During the rest, the third finger is placed on both

strings. The double stop G-D is then sounded. This is

repeated until the double stop is reached quickly and

with ease and until the double stop is in tune. In

Part b, the rest is omitted, but the double stop is

sounded. Once this can be done easily, the example is

played as written.

Preliminary Exercise 5:
Finger Preparation--Double Stop

i
i2 ^"7^1/jH^ JJ I'-
 103
This is one of the more difficult finger preparation
techniques, yet it is also one of the most used and an
essential part of left hand technique.

The following studies provide practice in finger

preparation at the Grade Four level:

Elementary and Progressive Studies. Op. 20. H. Kayser

Study No. 6

Study No. 7

Study No. 8

Elementary Progressive Studies, Second Set. H. Kinsey

Study No. 3

Study No. 7

Study No. 17

Sixty Studies, Op. 45. F. Wohlfahrt

Study No. 39

Study No. 41

Shifting
Shifting is a new skill for Grade Four students.

All shifts involve the same basic motion. This motion

is a unit motion involving the arm, wrist, hand, thumb,

and fingers. All these components must move the same

distance during a shift, thus acting as one unit. If a

performer digresses from this concept, it will likely

result in poor intonation. Each shift contains two

 104

notes: a note of departure (the last note in the old

position), and a note of arrival (the first note in the

new position).

Three different types of shifts are called for in

the Grade Four pieces. The first type, in which the

same finger plays both notes is shown in Example 6.

Example 6: Anonymous. Brother James* Air,

measures 37-39

cresc.
In this example, the F sharp is played with the

second finger on the D string in first position. The E

is played with the second finger on the A string in

third position. This shift could cause difficulty

because it must be executed during a rest. Thus, the

continuous sound usually expected during the shift is

absent. Also, the note of arrival being on a different

string is a complicating factor. These two problems

can be alleviated by using intermediary notes and by

checking the intonation of the shift, as outlined in

Preliminary Exercise 6.

Preliminary Exercise 6: Shifting--Same Finger

I 11 in
I nr I
b. ^
2.
c.

ifrirn
Z

M
Z

J^FP
 105

In Part a, the second finger executes a portamento

from the F sharp (first position) to an A (third posi-

tion) on the D string. The open A string is played as

a check to ensure that the shift is in tune. Once repe-

tition has achieved a high success rate in reaching

third position, the note of arrival is added after third

position is reached (Part b ) . Here the second finger

is placed on the A string after the portamento, and the

shift is checked for accuracy by playing the open E

string. Then the shift is done silently, as in Part c.

Once this has been done, the example can be played as

written. Study No. 22, from Elementary and Progressive

Studies. Second Set, by Kinsey can be used for practicing

this type of shift.

The second type of shift is when one finger plays

the note of departure and a different finger plays the

note of arrival. Example 7 shows this type of shift.

Example 7: G. P. Telemann. Suite in G

Rigaudon, measures 12-13

This type of shift may be out of tune if attempted by

leaping to the new note instead of sliding. In this

example, the first finger does the actual shifting in

 106
measure 12, playing E in first position and sliding up
to G in third position. This should be practiced with
a slow portamento as shown in Part a of Preliminary
Exercise 7.

Preliminary Exercise 7: Shifting--Different Fingers

b. I m 1 m
t 1 3 1 I
^
i5 if ?= S 21 i
t ?« •

Once the G is reached, it is played and then the

third finger is placed on the B. This shift should

then be practiced with rhythms, as shown in Parts b and

c to achieve a rapid shift. Downward shifts of the

same type are practiced in the same way, with the note

of departure finger doing the actual shift, and the note

of arrival finger being placed immediately after the

shift. Such a shift is shown in Example 8.

Example 8: Anonymous
Brother James' Air,
measure 20

In this example, the first finger plays the quarter

note D in third position on the A string. It then slides

down to first position and remains in place. The second

 107
finger is then immediately placed down on the C#.

Preliminary Exercise 8 shows a practice exercise that

should ensure a shift of correct distance.

Preliminary Exercise 8:
Downward Shift--Different Fingers

In Part a, the first finger plays a portamento

from third position D to first position B. In Part b,

the second finger C# is added after the portamento. In

Part c, the first finger B is played with a short note

value. This part should be repeated, with the duration

of the B decreasing with each repetition until it is no

longer heard and the desired sound of measure 20 is

achieved. Studies No. 22, 23, and 24 in Kinsey's Elemen-

tary and Progressive Studies, Second Set, are excellent

studies for both preview and additional practice of

this type of shift in both directions.

Shifting is an important skill that should be care-

fully taught in Grade Four. The teacher is particularly

directed toward the Sevcik set of studies that provide

for ample practice in the shifting motion. Careful

study of shifting skills will pay many dividends in the

future.
 108
Ornaments: The Mordent and The Trill

Playing two types of Baroque ornament, the mordent

and the trill, is new for the Grade Four student. These

occur in the Suite in G and are indicated by the

sign. Two problems are created by the introduction of

ornaments. The first is that this piece uses only one

symbol to indicate the spots where an ornament is to be

used, even though more than one type of ornament may be

performed. The choice of which ornament to use is an

interpretive one, and the teacher should help the student

make the decision. The first appearance of the ornament

(/w ) is shown in Example 9.

Example 9: G. P. Telemann.
Suite in G - Bourree,
measures 11-12
n

ffefeag 1^^

This ornament is normally realized in one of three

ways, which are shown in Preliminary Exercise 9. This

exercise solves the second problem created by the intro-

duction of ornaments, namely that the student does not

know when the ornament is to be executed. The student

should realize that the mordent comes before the second

beat in measure 11. This ornament, shown in Part a,

can be practiced slowly at first and then up to tempo.

Then Study No. 6 of the Kinsey Elementary and Progressive

 109
Studies, Second Set, should be practiced, after which
the mordent should not be a problem.

Preliminary Exercise 9: Mordent and Trill

1,1*7 f "fTr < \[f r \^j

?i ,.\\

E
Most students will know neither what a trill is
nor how to execute it. Thus, it must be explained to
them that a trill is the rhythmic alternation of a
written note with its diatonic or chromatic upper neigh-
boring note. Parts b and c of Preliminary Exercise 9
show two possible trills that could be used to realize
the ornament in measure 11. These should also be prac-
ticed slowly at first to ensure correct placement of
all notes.

Another ornament is shown in Example 10.

Example 10: G. P. Telemann.

Suite in G - Loure,
measures 3-4

m 1

Pf CJ- *
^m
The slow tempo of this movement is an indication

that a trill should be played. There are good published

 no
studies for trill preparation and execution. One or
more of the following studies should be taught and
applied to the Suite in G.

Elementary Progressive Studies. Second Set. H. Kinsey

Study No. 9.

75 Melodious and Progressive Studies. Op. 36. F. Mazas

Study No. 13.

Irregular Placing of Fingers

There is one place in the Suite in G which requires

the irregular placing of fingers, shown in Example 11.

Example 11: G.P. Telemann. Suite in G

Bourree, measures 17-18

r1 4 0
2 3
I
y f o^
i^ » # —
( ^ f> m m *J m VJ
W-Jk^ m

In this spot, the second finger plays a C natural

on the A string, and the following note is an F sharp

on the D string. Normally, the F sharp would also be

played with the second finger. However, since the

interval between F sharp and C natural is a tritone, one

finger cannot smoothly play both notes in succession.

The solution to this problem is for the third finger to

play the F sharp on the D string. This should be prac-

ticed first as shown in Part a of Preliminary Exercise

10 below. The second finger plays the C natural. The

 Ill
third finger is placed next to the second finger on the

A string to play a C sharp, and then moved over to the

D string where it plays F sharp. In Part b, the third

finger is placed next to the second finger, but on the

D string.

Preliminary Exercise 10: Irregular Placing of Finger

j. I J j f l»r II
b.
m ?

Vibrato

The discussion of new left hand skills introduced

in Grade Four concludes with vibrato. A good vibrato

is a vital interpretive tool, and one which students

are usually eager to develop. Success in teaching and

learning vibrato is partly dependent on patience of

both teacher and student, and in how well the basic

left arm and finger movements have been learned. No

specific examples from the repertoire will be discussed

since vibrato is used in virtually all repertoire.

Individual discretion and imagination is essential for

its use. The reader may refer to the Review of the

Literature (Chapter II) and to the published literature

for sections on teaching and developing vibrato.

Finger preparation, shifting, ornaments and vibrato

are basic left hand techniques acquired and developed

 112
in Grade Four. Careful work on these skills will bring
successful results and open up a new vista of musician-
ship to the student.

Right Hand Skills

Grade Four also requires further development of

learned skills and the acquisition of new techniques
for the right hand: (1) playing legato string crossings
on a slur; (2) further use of accents; (3) more subtle
bow distribution and bow placement; (4) playing new
rhythms; (5) playing in compound duple time; and
(6) executing the portato bow stroke.

Legato String Crossings on a Slur

The skill of playing string crossings on a slur is

not new to the Grade Four student. However, the slurs

in Grade Four are longer than the previous slurs

required, thus demanding more bow control and a slower

bow speed. There are two types of legato string cross-

ings on a slur that occur in the selected Grade Four

pieces. The first, a crossing from a higher string to

a lower string, is shown in Example 12.

Example 12: O. Rieding.

Rondo. measure 21
 113
In this example, the bow often gets to the first
note on the A string late. The rhythm is incorrect
because the arm is not sufficiently prepared to cross
from the E string to the A string. The resultant effect
is that the first two notes in the slur are too long,
most often receiving the equivalent of three eighth
notes. The arm must execute an arclike motion of cor-
rect duration. This can be achieved by practicing
Preliminary Exercise 11.

Preliminary Exercise 11:

Legato String Crossing on a Slur
Upper String to Lower String

is
Note that in Part a, the bow plays a quarter note

on the open E string, then crosses to the open A string

and plays an eighth note, but on a separate bow. This

gives the appropriate rhythmic feeling to the arm for

the string crossing. In Part b, the slur is added.

Once the motion and rhythm are correct on open strings,

the passage should be attempted as written.

The other type of legato string crossing on a slur,

from a lower string to a higher string, is shown in

Example 13.
 114
Example 13: Anonymous.
Brother James' Air,
measure 36

This is just the opposite motion of the first type.

However, the same problems of an inaccurate arc resulting
in a rhythmically inaccurate execution of the figure
may occur. The bow plays the equivalent of a quarter
note on the D string, then crosses to the A string.
Once again, this should be practiced first on open
strings as shown in Preliminary Exercise 12.

Preliminary Exercise 12:

Legato String Crossing on a Slur
Lower String to Upper String

b. n

i i
In Part a, the bow plays a quarter note on the D

string, then crosses to the A string and plays a half

note. In Part b, the slur is added, and this should be

repeated until the correct rhythm and motion is secure.

Appropriate studies that provide additional practice

in crossing strings on a slur are as follows:

Elementary Progressive Studies, Second Set. H. Kinsey

Study No. 1

Study No. 2
 115
Study No. 3
Study No. 17

Elementary and Progressive Studies. Op. 20. H. Kayser

Study No. 6

Study No. 7

Study No. 8

Sixty Studies. Op. 45. F. Wohlfahrt

Study No. 41
Study No. 50

These studies may be edited to elicit appropriate string

crossings as needed, as shown in Example 14.

Example 14: H. Kayser.

Elementary and Progressive Studies. No. 7

b.r^ ^^:
c.

Accents
Example 15 shows a spot where the use of up-bow

accents is required.

Example 15: O. Rieding.

Rondo. measures 19-20
 116

While in previous grades, accents were required

only on down-bows and always with a rest for preparation,

in Grade Four both up-bow and down-bow accents are

required, and usually without a rest preceding the

accented note. Since the up-bow accent is not as natural

for the arm, the student may encounter some difficulty

in playing the accent, or, the student will play an

accent, but on the down-bows. To acquaint the student

with the bow speed, quick release of pressure, bite,

and balances necessary for a good accent, this spot

should be practiced at first on open strings, the bow

playing a dotted quarter note (down-bow) on the A string,

followed by a rest, then an up-bow open A with an accent.

This is Part a in Preliminary Exercise 13.

Preliminary Exercise 13:

Up-bow Accent

b. n V c. n

(\f'lrl'- ^

In Part b, which should be practiced once Part a is

satisfactory, the rest before the up-bow accent is

omitted. In Part c, the up-bow accent is played on the

open E string (the down-bow is still on the open A ) .

After Part c can be played satisfactorily, the example

can be played as written. If additional practice is

necessary, the student should be directed toward Kinsey's

Elementary Progressive Studies, Second Set, Study No. 1.

 117
Bow Distribution and Contact Point

More subtle bow distribution than previously

required is needed to perform the Grade Four pieces.
Some of the dynamic changes written require the combined
use of bow speed, contact point, and pressure. Failure
to effect these will result in uneven crescendi and
decrescendi, tonal surges occurring where they are not
desired, non-legato string crossings, or the inability
to produce crescendi or decrescendi.

Two examples from the selected repertoire will

serve to show the type of bow distribution required for
dynamic change.

Example 16: Anonymous. Brother James' Air,

measures 21-25

#11 fr P r |f g^=f# E
In Example 16 the bow must play in a legato style

and with smooth string crossings but without abrupt

tonal surges in the requested crescendo (measure 22)

and the decrescendo (measure 24). At measure 21, the

bow must start in the upper half, near the tip, and the

crescendo must be effected in an even increase in tone

throughout measure 22 with the bow going no further

than slightly past the middle. The decrescendo in meas-

ure 24 must also be performed with an even decrease in

tone. It is important that the legato character be

 118
retained throughout this phrase. As shown in Preliminary
Exercise 14, this entire phrase should first be practiced
on an open string with even tone and correct rhythm and
contact point, but without the dynamic changes.

Preliminary Exercise 14:

Bow Distribution and Contact Point

t
V
^
Jl J J I J . I I J J ^ E ^

h^ JIJJ UJ
S S zz
r
iia
£
« 3 ^
J J J I J :ll
^ ^
1^
Once this is achieved, the dynamic changes should

be attempted by making the appropriate changes in pres-

sure, but still playing on one open string, as shown in

Part b. When the dynamics are satisfactory, the passage

should first be played as shown in Part c, using the

appropriate open strings. It can then be played as

written in the selected piece from the repertoire.

Example 17 shows the second type of bow distribution

required in the Grade Four pieces.

Example 17: O. Rieding. Rondo, measures 15-18

n

m te^
/
 119
In this example, the bow, while playing the same
rhythmic duration (except for the last half of measure
17), must effect a decrescendo in each dotted quarter
duration. Failure to make a change in bow speed or
contact point will result in little dynamic contrast.
Changes in dynamics are effected primarily with bow
speed and a change in contact point and pressure. Once
again, this should be practiced on an open string to
achieve the correct speed, placement and pressure for
the dynamic change required. In measure 17, the three
separate eighth notes should be played in the upper
third of the bow, with the bow placed towards the finger
board and with less bow used on each succeeding eighth
note. Once the bow distribution is satisfactory on one
string, the appropriate open strings used in the passage
should be played. Then the example may be played.

Example 18 shows some new rhythms which require

correct bow distribution.

Example 18: G. P. Telemann. Suite in G

Loure, measures 2, 6

These rhythms will be imprecise and uneven tonally

if the bow speed and distribution are incorrect. These

should be played with proportionate bow length. That

 120
is, the bow moves the same speed throughout: therefore,
twice as much bow length is required for a quarter note
as compared for an eighth note, and three times as much
is required for a dotted quarter as for an eighth. To
ensure correct execution of these figures, they should
first be practiced on open strings, shown in Preliminary
Exercise 15.

Preliminary Exercise 15:

Bow Distribution Rhythm
t-H M OH OH !A -
n b. n

m.^V J. J>JJJJ:||- J>J J U J J J : | |

Playing these rhythms on open strings allows the

attention to be focussed properly on the bow. Atten-

tion to the bow should be maintained when the passages

are played as written.

If further practice or preview is desired, the

following studies can be given to the student:

Elementary and Progressive Studies, Op. 20. H. Kayser

Study No. 2

Study No. 5

Sixty Studies, Op. 45. F. Wohlfahrt

Study No. 42

Study No. 47

Study No. 49
 121
Compound Duple Time

If compound duple time is a new concept, the student

may have some trouble adjusting to the change of bow in

a dotted quarter rhythmic duration in the 6/8 time of

the Rondo, or the dotted half duration in the 6/4 time

of the Loure in the Suite in G. Careful counting of

the new one-third division of the basic beat, attention

to appropriate bow division, and preview with two Kinsey

studies. Numbers 1 and 10 in the Elementary Progressive

Studies, Second Set, will help acquaint the student

with compound duple time and the skills required.

The Portato

The final new right hand and arm skill is the por-

tato, shown in Example 19.

Example 19: Anonymous.

Brother James' Air, measure 30
n

»^ } f j ^

In the portato technique, the bow plays two or

more notes on a bow stroke, with a slight break between

each note. The portato lies between the slur and the

staccato. The bow is not lifted for this technique but

just pauses slightly before each note in the stroke.

While this may be done on either a down-bow or an up-bow,

the up-bow portato is the easier of the two and is the

 122

only portato required in Grade Four. If the bow fails

to stop between the notes in the portato, a slur will

result. If, on the other hand, the bow makes too long

a stop between the notes, a staccato will result. In

Brother James' Air, there should be only a very slight

separation between the two notes. As shown in Part a

of Preliminary Exercise 16, this should be practiced

using an open string, putting a rest between each note.

Preliminary Exercise 16:

The Portato

y ga. V b. V

When the two notes are even, the rest can be elimi-

nated, and Part b can be practiced until the desired

separation between the notes is achieved. The suggestion

of applying index finger pressure (without stopping the

bow) at the beginning of the second note is sometimes

helpful in achieving the smooth pulsating effect of the

portato.
Conscientious work on the right hand skills required

in Grade Four will eliminate many future potential set-

backs affecting the students' ability to respond to the

interpretive, dynamic and expressive demands of reper-

toire .
 123

Trouble Spots

Three potential trouble spots in the Suite in G, all

involving the same skill, are shown in Example 20.

Example 20: G. P. Telemann. Suite in G

Example 20A - Rigaudon, measures 13-14

n
f\ —. ^ ^ -^ 0
%.m i' w^
XV ^f 5f
*> ^
-* ^m
Tfl^ ^ •
VM/ X

Example 20B - Gigue, measure 9

Example 20C - Loure, measure 7

In Examples 20A and 20B, the D sharp is likely to

be out of tune unless the first finger is placed immedi

ately next to the second finger at the time that the E

is sounded, as shown in Preliminary Exercise 17. In

Example 20C, the G sharp is likely to be out of tune

unless the first finger is placed immediately next to

the second finger after it sounds the E.

 124
Preliminary Exercise 17:
Change in Finger Placement

a . Ric^au.cl6n , Gigue, b . a Leu.re

i,,N » T T W ? r r IIr.7~j ii
As shown, the first finger must be placed silently

with the second finger and immediately next to it.

Failure to do so will result in the first finger notes

(D sharp or G sharp) being played out of tune, most

likely flat. The Suite in G also provides an opportunity

to review and improve the martele bowing style which

was introduced in previous grades.

Measure 102 in the Rondo may present a problem to

some students, in that they will fail to play the sfor-

zando (fz) on the B on the second beat. This is shown

in Example 21.

Example 21: 0. Rieding

Rondo. measure 102

fill' ^"'^
This note should be played like an accent, but

with a whole bow stroke. Thus, the bow must remain on

the string after the G is played. Then the B must be

started with an accent. Finally, the whole bow must be

used on the B. This procedure will ensure the correct

articulation for the sforzando.

 125

An unusual counting problem is shown in Example 22.

Example 22: Anonymous. Brother James' Air

measures 1 - 5
Andante con moto
violin fViR—t

Piano

Due to the melodic phrase starting on the anacrusis

while the supporting harmony begins on the downbeat in

measure 1, the violin entry seems to make musical sense

if it is made on the downbeat of measure 5, and seems

to be incorrect if made as written in measure 4. This

feeling is compounded by the G played by the piano right

hand one-eighth beat before the violin entry. Even

when the student counts carefully, there is an uncertain

entry, usually with poor tonal quality. The student

 126
must count quarter note beats during the piano
introduction, listen carefully to the bass line, and
enter precisely on the third beat in measure 4, confident
that the entry is correct. This can be achieved with
repetition. This spot was commented on by all the West-
ern Board of Music examiners as one needing attention.
Brother James' Air presents a counting problem
with tied notes, shown in Example 23.

Example 23: Anonymous.

Brother James' Air, measures 16-17

At this point, students usually do not hold the tied

notes for their full value. Thus, they enter early on

the last note in measure 17. When the tied D is held

correctly, there is usually no problem. It is important,

therefore, to persevere with the student who insists on

cutting the tied D short, and insist that it be held

for its full value with a nice decrescendo.

Another potential trouble spot in the Grade Four

repertoire is the chromatic fingering required in the

Rondo, shown in Example 24, where the second finger is

required to play first in its low position and then in

its high position.

 127
Example 24: 0. Rieding. Rondo. measures 3-5

i h }• r- I i}' r \^rt^I\
Faulty execution of the chromatic change in measures

3 to 4 may show up in one of two ways. The first is

that the finger may be lifted between the low and high

pattern. If this is done, an unwanted note will be

heard. The finger must slide from low to high, with

only a slight release of pressure. Secondly, if there

is too much pressure, the finger will be unable to move

far enough, and the C sharp will be out of tune. Also,

the motion will be too slow and an undesirable portamento

will be heard. Practice will determine the exact pres-

sure and speed which must be used. This should be

practiced first with a slur between the two notes, so

that the exact pressure and speed required to eliminate

the portamento can be determined and so that accurate

intonation can be achieved. Keeping the first finger

down through measures three and four will also help the

student to feel the correct distance for both the half-

step between B and C and the whole step between B and C#.

Summary of Grade Four Skills

Grade Four provides some attractive pieces, and

advances the violin techniques in a number of exciting

ways: (1) finger preparation; (2) shifting; (3) vibrato;

 128
4) new chromatic fingerings; (5) ornaments; (6) accents;
(7) legato string crossings; (8) portato bow stroke;
(9) new rhythms; (10) new time signatures; and (11) bow
distribution. The bowing skills developed facilitate
significant advances in future grades. The left hand
skills of shifting and vibrato present new interpretive
possibilities, although their full realization will come
somewhat later.

Grade Five Skills

In Grade Five, the second grade in the intermediate

level of instruction, the student continues to improve

left hand and right hand skills, acquires a new

combination skill, learns some new left hand and bowing

techniques, and encounters theme and variation form and

20th Century idioms.

Left Hand Skills

Four techniques are required of the left hand in

the selected Grade Five repertoire: (1) finger prepara-

tion for smooth string crossings; (2) shifting; (3) finger

facility; and (4) producing harmonics.

Finger Preparation
The technique of placing a finger on a string prior

to its note being sounded, or finger preparation, is

required much more often and at faster tempi than the

same technique in Grade Four. If finger preparation is

 129
not used, most string crossings will sound uneven and
will contain unwanted noises and notes. Three different
types of passages requiring finger preparation occur:
(1) a flowing melodic line involving string crossings;

(2) broken chord figures; and (3) stopped four-note

chords.

The first type, a smooth flowing melodic line

involving string crossings is illustrated in
Example 25.

Example 25: O. Rieding. Air Varie, measures 5-7

The string crossings in measures 6 and 7 may contain

unwanted noises if other fingers are touching the strings.

Unwanted open strings may be heard if the third finger

is not placed on the new string before the bow plays on

that string, or if the first finger in measure 6 or the

second finger in measure 7 lifts while the bow is still

playing on their respective strings. The procedure shown

in Preliminary Exercise 18 will avoid unwanted noises

or notes in these types of passages.

 130

Preliminary Exercise 18: Finger Preparation

Melodic Passages

t*
iT
a.. 3
I

t
b.
a
^

In this example, the E and D in measure 6 should

be practiced slowly as double stops, with both the first

and third fingers being placed simultaneously on the

appropriate strings. As shown in Part a, after the G

in measure 5 is played, the E and D are prepared, then

played as a double-stop. This is repeated until the

fingers move quickly and naturally to their spots. In

Part b, the example is played as written. The C and A

in measure 7 should be practiced the same way.

The second type of finger preparation technique

required in Grade Five is for the playing of broken chord

figures, shown in Example 26.

Example 26: O. Rieding.

Air Varie, measures 69-70

Here, the C and A must be practiced as double stops,

with both fingers being placed simultaneously with the

 131

sounding of the immediately preceding open D, as shown

in Preliminary Exercise 19.

Preliminary Exercise 19:

Finger Preparation--Broken Chords

As the open D is sounded, the second and third fin-

gers play the double stop. The double stop is sounded
as a check on intonation. This is repeated until the
fingers move quickly and accurately. Then the figure
is played as written. Measure 70 should be practiced
the same way. Failure to do so could result in the sound-
ing of unwanted open strings or in an uneven performance
of the notes. If the left hand fingers are prepared as
suggested, the bow arm can execute the required string
crossing free from any distraction which placing the
fingers might cause. The player's ability to focus
attention on the bow stroke aids in the even performance

of these figures.
The third type of double stop finger preparation,

for stopped four-note chords is shown in Example 27.

Example 27: O. Rieding.

Air Varie, measures 83-84
VJ
 132
When unwanted open string sounds are heard, or when
the chord sounds uneven, the use of the routine in
Preliminary Exercise 20 may eliminate the problem.

Preliminary Exercise 20:

Finger Preparation—Stopped Chords

The preparation is done on the note preceding the

chord. Thus, on the first quarter note in measure 84,

the first finger is placed on the string simultaneously

with the third finger being placed on the D string, as

shown in Part a. Once the first finger has found its

spot, the third finger may be released and the second

finger placed on the E string for the execution of the

chord, as shown in Part b. This technique is used only

for practice. Since its continual use may tighten the

left hand, which is highly undesirable, during performance

there may not be simultaneous finger placement. However,

the preliminary exercise will ensure that fingers are

in place before each note is sounded. This is an essen-

tial factor in achieving flowing melodic lines, string

crossings and chords.

The following applicable studies may also be used

for practising the finger preparation technique:

 133
Elementary Progressive Studies. H. Kinsey
Study No. 3, Second Set
Study No. 10, Third Set

Elementary and Progressive Studies. Op. 20. H. Kayser

Study No. 6
Study No. 10
Study No. 12
Study No. 16

Fifty Easy Melodious Studies. Op. 74. F. Wohlfahrt

Study No. 27

Study No. 33

Study No. 34

Study No. 38

Shifting

The second left hand technique required by the pieces

in Grade Five is shifting. While the overall technique

is the same as for the Grade Four pieces, in Grade Five

the shifts must be made in faster moving tempi and with

shorter note durations. Thus, this can be seen as a

developing technique, the purpose of which is to achieve

greater speed in shifting along with maintaining accuracy

in both the shifting motion and intonation. Three types

of shifts are required in the selected Grade Five reper-

toire: (1) shifts involving one finger; (2) shifts

involving two fingers; and (3) shifts in which the note

 134
of departure and note of arrival are separated by an
open string.

The first type of shift, shown in Example 28,

involves shifting between two pitches using the same
finger.

Example 28: R. Jaque. Daussila. measures 10-13

1 lV ^

^B /
^

If the wrist bends during the shift, or if the curve

of the finger changes, the note of arrival will likely
be out of tune. Too much thumb pressure or finger pres-
sure will inhibit the shifting motion. In extreme cases,
this may prevent the shift from taking place at all, or
may cause a highly exaggerated portamento effect, which
is undesirable. On the other hand, if the finger is
lifted off the string during the shift, an unwanted open
string note will be heard. Preliminary Exercise 21 will
help the student correctly perform the required shift.

Preliminary Exercise 21: Shifting—Same Finger

3 M
I IE I m I m n V
ha. 1 1 b. 1 1 1 g 1—1 1

,ji r I II L l I ' i i ' ^ ^

Part a requires that a portamento be played between

the two notes. This helps the student hear when the
 135
new note has been reached. Then rhythms are added to
achieve the desired speed, shown in Part b and Part c.
Finally, in Part d, the shift is played coordinated with
a bow change as in the piece. This type of shift may
also be performed downward, as shown in Example 29. It
is important that the unit stays the same in downward
shifts. Leading with the thumb can help in this regard,
especially in keeping the first finger in place. If
the thumb remains behind, the hand will be out of balance,
and poor intonation will result.

Example 29: 0. Rieding.

Air Varie. measures 11-12

The same practice techniques may be used for this

shift, as for the shift in Example 28, starting with a
portamento from the higher note to the lower, and then
adding rhythms to achieve speed.

The second type of shift involves two fingers, as

shown in Example 30.

Example 30: R. Jaque. Daussila. measures 25-27

cresc.
 136
The C sharp is played by the second finger with
the arm in first position. The D is played by the first
finger with the arm in third position. The transition
from second finger to the first finger must be made
smoothly and at the correct time, in order for the porta-
mento to sound evenly. As shown in Preliminary Exercise
22, the first finger should be kept down after playing
the B in measure 25 and while the second finger is playing
the C sharp. During the shift, the second finger is
replaced by the first.

Preliminary Exercise 22:

Shifting--Replacement Finger

I ni I m b. 1 1
I a. 1 1 .1 1

(h f r •11^ fj r •II' a T r ii
This should be practiced slowly at first while exact

distance and finger pressure are determined, as in Part

a, then with rhythms as in Part b, until the desired

speed is reached. Then Part c should be repeated until

the shift is accurate. During the shift, the second

finger is supplanted by the first finger so that a gradual

and even upward pitch motion is heard. Ideally, during

performance, no portamento will be heard.

The third type of shift required by the Grade Five

pieces involves an open string note between the notes

of each position. This leaves no preparation note on

 137
which to base the correct distance for the shift.

Consistency will be obtained only by supplying an

intermediary note. Example 31 shows this type of shift.

Example 31: O. Rieding.

Air Varie. measures 55-56

In this example, notes played in the third position

and notes played in the first position are separated by

a single open D. The essential third position preparation

note is obtained by shifting to a first finger D on the

A string while the open D is being sounded. The third

finger may then be placed with confidence on the B. As

noted in Preliminary Exercise 23, the preparation note

should be sounded during practice, first as in Part a,

then as in Part b. After a secure shift is achieved,

the preparation note is not sounded, and the passage is

played as written.

Preliminary Exercise 23:

Shifting--Open String

I nr b. 3 ,_
a. c. 1 3

XT
?? p
f—^

v
Additional practice in the shifts required in the

Grade Five pieces may be found in the following studies

 138
Elementary Progressive Studies. H. Kinsey

Study No. 22, Second Set

Study No. 23, Second Set

Study No. 24, Second Set

Study No. 2, Third Set

Study No. 3, Third Set

Study No. 4, Third Set

Study No. 6, Third Set

Sixty Studies. Op. 45. F. Wohlfahrt

Study No. 47

Fifty Easy Melodious Studies, Op. 74. F. Wohlfahrt

Study No. 30

Study No. 32

Study No. 33

Study No. 36

Study No. 37

Finger Facility
Finger facility is a new technique required for

the first time in Grade Five. In general, finger facility

is required when a passage has a number of notes of very

short duration. The passage may be scalelike or arpeg-

giated or composed of odd intervals. Example 32 shows

a passage where finger facility is required.

 139
Example 32: J. S. Bach.
Giguetta, measures 1-2

In this example, the fingers must remain close to

the fingerboard and must move with a quick, light motion.

If the fingers lift too high off the strings, they will

not be able to move fast enough to play the passage,

and the rhythm may be uneven. Playing this passage with

too much finger pressure will cause the fingers to

tighten, and they will then be unable to play the passage

at all. This passage will be successful only if the

fingers remain flexible and close to the strings.

Preliminary Exercise 24 will also help improve the

execution of this passage.

Preliminary Exercise 24: Finger Facility

a. 2. L. ^
^

i^M fc==x
E m ^ ^ - ^
i

^ ^

Notice that the fingers are kept in place on their

respective notes as much as possible, as shown in Part

a. This reduces by at least half the total amount of

 140
finger motion necessary to play the passage. In Parts
b and c, grace notes are use to help speed up the indi-
vidual finger motion. This also allows the student to
concentrate on one finger at a time. Then Part d is
repeated, the tempo gradually increasing and the number
of notes in the slur increasing until a fast even execu-
tion of the passage is achieved. Since this type of
finger facility is required throughout the Giguetta and
in some parts of the Air Varie. it is advisable to include
practice of this technique in two studies:

Elementary Progressive Studies. Third Set. H. Kinsey

Study No. 12

Elementary and Progressive Studies, Op. 20. H. Kayser

Study No. 16

Harmonics
The final new left hand skill required in Grade

Five is the playing of harmonics, shown in Example 33.

Example 33: O. Rieding.

Air Varie. measure 41

The harmonic requires light finger pressure yet

firm bow pressure. If the finger pressure is normal, a

"solid" note will sound. If the pressure is less than

 141
normal, but not light enough for a harmonic, a sound of
indeterminate pitch will be heard. If the bow pressure
is not firm enough, the harmonic will not sound clearly,
if at all. Preliminary Exercise 25 will assist the stu-
dent in achieving a clear harmonic.

Preliminary Exercise 25: Harmonic

b. 3
m
g ^
a. 3 K(M>v«-

J J -lr J <j J <l i

Normal bow speed, place and pressure must be main-

tained throughout this exercise, while finger pressure

is gradually lessened until the harmonic sounds, as shown

in Part a. In Part b, the finger pressure is immediately

lessened, then an open D is sounded, then the finger

repeats the harmonic. There are virtually no published

studies to provide additional practice in harmonics.

However, the teacher can provide special short exercises

in the event extra practice is needed.

For the left hand the Grade Five pieces present

opportunities for the student to develop further skills

in finger preparation and shifting, and to acquire new

skills in finger facility and playing harmonics.

Right Hand Skills

In Grade Five, the right hand must effect (1) more

difficult slurred legato string crossings; (2) more subtle

 142
dynamic changes with harder string crossings; (3) new
types of accents; (4) more difficult bow distribution
and varied bowings including uneven bow speeds and bowing
patterns; and (5) chords.

Legato String Crossings on Slurs

Two types of legato string crossings on slurs occur

in the selected Grade Five repertoire that are more dif-
ficult than those occurring in beginning or Grade Four
material. The first of these is shown in Example 34.

Example 34: R. Jaque. Daussila, measures 9-11

mf cresc.

In this example, the bow must travel from the G

string in measure 9 to the A string in measure 10, on

one down-bow stroke, while creating a crescendo. If

the bow placement is not changed during the stroke, a

crescendo will be impossible to attain. If the arm does

not move smoothly from the G string level to the A string

level, the string crossing will be uneven resulting in

tonal surges and uneven note durations. The bow speed

must increase during the stroke. The right arm should

describe an arc that starts on the G string and gradually

and evenly goes to the A string. Preliminary Exercise

26 will help the student play the passage correctly.

 143
Preliminary Exercise 26: Legato Crossing with Crescendo
n.
g'^'
n
rglj] ^mM

In Part a, the open strings of the appropriate notes

are played with separate bows. This will help the student

to conceptualize that one note occurs on the G string,

three notes occur on the D string, and the remaining

two notes occur on the A string. In Part b, the two

string crossings are separated. Note that the bow must

start clearly on the G string, but almost at the D string

level. This first crossing is repeated slurred until

it can be executed smoothly. Then the second crossing,

from D string to A string is practiced in the same way.

However, it should be noted that the bow starts almost

on the G string level and smoothly and evenly makes its

arc until it plays the A clearly. In Part c of the exer-

cise, the entire slur is played on the appropriate open

strings, at first without the crescendo, and then with

the crescendo. Finally, the passage is played as written.

The second type of legato string crossing, for broken

chords, is shown in Example 35.

 144
Example 35: 0. Rieding. Air Varie.
measures 69-70, 107

In this example, the bow must cross three or four

strings on a slur very quickly. The most common problem

that occurs is uneven note lengths, which is caused by

not giving each note an equal amount of bow. Using too

large an arm motion or using too much wrist in the arm

motion may cause variation in dynamics as well as

unevenness. To execute this string crossing motion

successfully, the entire arm, moving from the shoulder,

must simulate an arc, and the wrist must be passive. The

arc begins and ends at the appropriate level for the

beginning and ending string, and must be executed so that

the notes sound evenly. The best procedure, as outlined

in Preliminary Exercise 27, is to practice on open

strings, starting with two strings, as in Part a,

proceeding to three strings as in Part b, and then four

strings, as in Part c. It is important to remember that

a full arm motion must be used throughout if an even

performance of the notes is to be achieved.

 145

Preliminary Exercise 27:

Legato String Crossing--Broken Chords

a. n V b. n

m O O O O

'iJ.' 'J'ljf V.
Once the motion can be performed successfully on open

strings, the written notes are added. Study No. 10 by

Kayser in his Elementary and Progressive Studies, Op.

20 is an excellent study for additional practice of this

skill.

Accents
There is one new type of accent required in the

selected Grade Five pieces—an accent in the middle of

a bow stroke. This is shown in Example 36.

Example 36: 0. Rieding.

Air Varie, measure 33

An accent is produced by an abrupt increase in both

pressure and speed at the point of the accent. In pre-

vious grades, accents are produced at the beginning of

a stroke, which allows time to put pressure on the bow

prior to drawing it. In Example 36 the accent occurs

in the middle of a slur. Usually when this type of figure

 146

is first encountered, there is no accent on the accented

note, or the first note in the slur is accented. Pre-

liminary Exercise 28 suggests a practice technique to

achieve this type of accent, beginning with separate

accented open string notes, shown in Part a.

Preliminary Exercise 28: Accents

a.n^, V b.
b. V c. n
c. n V
V

When the separate accents are correct, accents are

placed on the open A, using a slurred portato up-bow,

as in Part b. The string crossing from D string to A

string is then introduced into the slur, as in Part c.

Finally, the example is played as written. The use of

vibrato will enhance the effect of the accent.

Example 37 shows a series of accents in rapid suc-

cession .

Example 37: J. Bach.

Giguetta, measure 17

If the accents are missing, a common error, or if

just some of the accents are played. Preliminary Exercise

29 should be practiced until all the separate bow strokes

are accented.
 147
Preliminary Exercise 29:
Successive Accents

b.
^ > i>
if H w~m
1
oxcel.
E
The student should be reminded how (bow pressure,

bite, sudden release, bow speed) and where (middle of

bow) to produce the accent. This should help ensure

that every accented note in the series receives an accent.

Special attention must be given to the up-bows as they

are weaker strokes physically than down-bows. Two studies

by Kayser, Numbers 4 and 12 in his Elementary and Pro-

gressive Studies, Op. 20, and one by Wohlfahrt, Study

No. 34 in Fifty Easy Melodious Studies, Op. 74 provide

some additional practice for accents.

Contact Point and Speed

Two types of more subtle dynamic changes occur in

the Grade Five repertoire. These require more exact

bow placement between the bridge and frog, and a slight

change in contact point and pressure for just about every

note if the crescendi and decrescendi are to be effective.

No change in contact point will result in little or no

change in dynamic level. Too much change in contact

point too soon will result in a very uneven dynamic

change. If the effect of changing the contact point is

not accompanied by a change in bow speed and pressure

 148
less dynamic change will occur than desired. The first
of these more subtle types of dynamic change is shown
in Example 38.

Example 38: J. S. Bach.

Giguetta. measures 20-24

PirrhM
y
— • — j#— f

In this example, a dynamic change from forte to piano

must be made in the space of four measures of music.

The bow must start near the bridge and move slightly

towards the fingerboard starting from the first note in

measure 21 to the first note in measure 24. At the same

time there must be a gradual lessening of bow pressure

over the four measures. The best way to ensure that

the bow does in fact make this movement is to play on

open strings as shown in Preliminary Exercise 30.

Preliminary Exercise 30: Contact Point and Speed

|L D. 0
b. o oo
 149

In Part a, the entire passage is played on an open

E string, with the student's concentration directed toward

the movement of and pressure on the bow. It should be

placed properly for each note, with a slight lessening

of the length of each stroke and a slight lessening of

pressure to help in achieving the decrescendo. When

satisfactory results have been achieved, the appropriate

open strings are played, as shown in Part b, so that

adjustments can be made for the tonal change effect caused

by crossing strings. Once the decrescendo is satisfacto-

rily performed, the passage can be played as written.

The second type of bow placement technique is shown

in Example 39.

Example 39: 0. Rieding.

Air Varie, measures 61-62

^^^^m^
In this example, good bow distribution and the abil-

ity to change the contact point and bow pressure are

essential. If any of these three are missing or poorly

executed, the crescendo and decrescendo will be missing

or ineffective. This figure should be started in the

middle of the bow with short strokes. The length of

the stroke (and thus the speed) and bow pressure are

gradually increased, and the contact point moved toward

 150
the bridge to effect the crescendo. Likewise, the length
of the stroke and the bow pressure are gradually
decreased, and the contact point moved toward the finger-
board to effect the decrescendo. This should be practiced
slowly as shown in Preliminary Exercise 31. Part a, on
one open string should be practiced first, then Part b
with appropriate string crossings. When the bow technique
is secure, the example should be played as written.

Study No. 11 in Kayser's Elementary and Progressive

Studies. Op. 20, and Study No. 35 in Wohlfahrt's Fifty
Easy Melodious Studies. Op. 74 provide practice.

Preliminary Exercise 31:

Contact Point--Dynamic Changes

Bow Distribution

Careful bow distribution is required in a number

of spots if the correct rhythm is to be easily played.

Two such spots are shown in Example 40.

 151
Example 40A: J. S. Bach.
Giguetta, measures 3-4

In measures 3 and 4, the same amount of bow must

be used for both the quarter notes and the eighth notes
to avoid running out of bow. Careful attention to the
bow speed used on these notes will help to ensure that
the bow gets back to its proper place for the next set
of sixteenth notes. Usually the quarter note is too
short and the eighth note too long. Placing the eighth
note finger down on the fifth eighth note beat of both
measures will help give the quarter note its proper value,
as shown in Preliminary Exercise 32.

Preliminary Exercise 32:

Bow Distribution--Changing Speed
M =^ 3-J?
I
i r r r r r i iiJ i H i
Example 40B: J. S. Bach
Giguetta, measure 8.

^ t'P r\.i.

As for the figure in measure 8, simple correct bow

distribution and placement is needed. The dotted eighth

 152

note is played in the middle of the bow going to the

upper third. Usually too little bow is given to the

dotted eighth note, and too much to the sixteenth note.

Only an extremely tiny motion is needed to play the six-

teenth note, executed by the bow fingers without any

appreciable arm motion. On the eighth note the bow goes

to the tip, and on the quarter note it returns to the

lower third. This placement is shown in the example.

These and other potential distribution problems

can be avoided by attention to the bow. Additional prac-

tice is provided by the following studies:

Elementary Progressive Studies H. Kinsey

Study No. 10, Second Set

Study No. 11, Second Set

Study No. 8, Third Set

Study No. 15, Third Set

Chords
The final new skill required of the right arm and

hand in Grade Five is the playing of chords, an example

of which is shown in Example 41.

Example 41: 0. Rieding

Air Varie^t measure 112.
 153
Usually, when a student first encounters such a

chord, he increases the pressure on the bow and slows

the bow down. The result is an unpleasant "crunching"

sound. Another problem is when so much bow is used on

the lower notes of the chord that none is left for the

upper notes. The right arm motion required is similar

to that for slurred string crossings, except that the

arc required of the right arm is smaller in scope and

the bow speed is faster. As shown in Part a of Prelim-

inary Exercise 33, one must first play the lower two

notes of the chord as a double stop with a good sound.

Then the arc is practiced using open strings, gauging

exactly when the upper two notes should sound.

Preliminary Exercise 33: Chords

a.n
.n b. n 1 c. n
^
* :

i3
The rhythms used in Parts b and c will help in

achieving correct bow distribution. The string crossing

should occur in the lower half of the bow. Finally,

the chord is played as in Part c of the Preliminary exer-

cise, but with the written notes.

The Grade Five repertoire requires the use of many

bowing skills: legato string crossings on slurs; changing

the contact point; good bow distribution; accents; and

chords.
 154
Combination Skills

There is one combination skill required in the

selected Grade Five repertoire, in the Air Vari^. A
combination skill requires individual left hand and bow
arm skills to be coordinated so that they are precisely
performed, almost as one skill. This normally happens
in a passage that requires fast motion by both partici-
pants in the skill, as shown in Example 42.

Example 42: 0. Rieding

Air Varie. measure 44

The left hand and bow arm must be extremely well

coordinated. A lack of coordination, resulting in an
extremely inarticulate performance, can be caused by
using too much bow, and by not lifting or placing the
fingers accurately. Note that the fingers move during
the bow stroke. A practice routine is shown in Prelimi-
nary Exercise 34.

Preliminary Exercise 34: Combination Skill

a. V n

rl'Cr KlMCfrrr.Me)^r.ii
b.

Ut
i3 t r ^CrnQ-rCr) \Q-)Q->i\
 155

m fr ^
IT r l 1^ ^f . i
n
^m
^ ^ ^
1%—f^
m
This must be practiced slowly at first, broken into

pairs of notes, with a rest between each pair, as shown

in Part a. The rests in Parts a and b serve to emphasize

that each pair of notes starts with a new bow, but the

same note. Dotted rhythms should be used to achieve

quick finger action, as shown in Part b. Once the finger

action is quick enough, the duplets should be grouped

together as shown in Part c, and then duplets added as

in Part d until the entire passage can be played. Very

short bow strokes are used in performance.

Interpretive Skills
In these selected pieces, three different styles

are represented, each with its own interpretive skills.

In the Giguetta, Baroque style in both bowing and dynamics

must be used. Care must be taken that the bow remains

on the string at all times, with a slight separation

between eighth notes. This is also a good piece in which

to review the form of AABA which should not be new to

the student. The Air Varie. on the other hand, presents

a new form--theme and variation. This is an

 156
opportunity to discuss the various types of variation
forms and how themes are changed. A more lyric and legato
style of playing is also required in the Air Varie than
in the Giguetta. The student should be able to make these
differences apparent in the performance of these pieces.
The 20th Century is represented by Daussila. The student
thus encounters a textural style and harmonic vocabulary
that is new. Some time may have to be spent discussing
this century and in becoming familiar with the new sound
of this composition. This would also be a good piece
in which to discuss motives, as Daussila (doe-see-la)
is based on the tonic, leading tone, and sub-mediant
degrees of the scale--hence the name which uses the sol-
feggio syllables for those three notes. Grade Five is
thus a grade that broadens the base on which a student
makes performance decisions about his repertoire.

Trouble Spots

There are a number of trouble spots presented in

the selected Grade Five pieces. The first is in the

Air Varie. shown in Example 43.

Example 43: 0. Rieding.

Air Varie^. measure 82
 157
At this spot, the second finger plays G sharp and

then G natural with only one intervening note. The second

finger is almost certain to repeat the G sharp on the

last beat unless it is properly prepared for the G nat-

ural ahead of time. Thus, a type of finger preparation
is used, shown in Preliminary Exercise 35.

Preliminary Exercise 35: Finger Preparation-Placement

Z J-

After the second open A is played, all three fingers

should be placed on the E string in the correct pattern
for the succeeding notes. After the G sharp is played,
the second finger must be lifted, pulled back, and placed
next to the first finger for the G natural. This may
be practiced by using Study No. 6 in Elementary and Pro-
gressive Studies. Second Set, by Kinsey.

Daussila presents two trouble spots. The first,

which recurs throughout, is shown in Example 44.

Example 44: R. Jaque.

Daussila. measures 1-2

semplice mf

The eighth rest creates a problem because students

are not used to entering on the second beat in a fast

 158

moving piece. This problem is best solved by getting

the student to feel an accent physically with a slight

motion on the rest. The use of the piano accompaniment

early in the learning of the piece also assists with

this problem.

The second trouble spot is shown in Example 45.

Example 45: R. Jaque. Daussila, measures 1-4

^n V n V

I?; r I r^^i
semplice mf

In measures 3 and 4, the sixteenth notes are to be

played with a down bow and the accented quarter notes

with up bows. There can be an absence of an accent as

well as rhythmic inaccuracy at this spot. The sixteenth

note in measure 3 must be played near the tip of the

bow. The accent is produced by pressure at the beginning

of the up-bow along with the use of a fast stroke to

approximately the middle of the bow. In measure 4, the

sixteenth note must again receive just a very little

amount of bow, and the quarter note starts with pressure

and a fast, long up-bow stroke to the frog. With a little

practice this spot will be executed well and will no

longer be a trouble spot.

The Giguetta presents one trouble spot, shown in

Example 46
 159
Example 46: J. S. Bach.
Giguetta, measures 9-10
n
1
4 4 4 ^
' V V^

Here the rest is usually inaccurate in duration,

resulting in an inaccurate entry on the final eighth

beat of measure 10. Usually this note is played too

soon. Two measures must be taken to correct this problem:

the dotted quarter note must be played for its full value;

and, the second finger must be placed on the G precisely

on the second dotted quarter beat of the measure. Usu-

ally, these two measures, taken together, will solve

the problem and ensure an accurate rhythmic performance

of this figure.

Summary

The skills required in Grade Five are essential

for the musical growth of a student. Indeed, the left

hand skills of finger preparation, shifting and vibrato

acquired in Grade Four taken together with the further

development of bow distribution, accents, changing the

contact point and legato string crossings for the right

arm in Grade Five make possible much more subtle perfor-

mances of repertoire. If the important interpretive

aspects of the Grade Five repertoire are discussed, the

result should be musical performances.

 160
Grade Six Ski 11^

There are a number of new skills required of the

student, as well as the continued development of some
previously acquired skills in Grade Six, the third level
in intermediate study. The acquisition of these skills
will enable the student to perform the selected Grade
Six repertoire musically and stylistically. As well,
the acquisition of knowledge about some new forms is
certain to take place.

Left Hand Skills

The selected Grade Six pieces require the following

left hand skills: (1) finger preparation for smooth
string crossings; (2) finger facility; (3) shifting;
and (4) double stopping. Most of these skills are not
new, but are further developed in Grade Six.

Finger Preparation

In comparison with Grade Five, the finger prepara-

tion required in the Grade Six pieces is more rapid.

It must be done with changes in position, and is some-

times required successively many times within a phrase.

Example 47 shows a passage from a Grade Six piece.

• •s
Example 47: F. Fiocco. La Legere. measures 50-54

_ ^ ^ 4_o 3
 161
If the finger preparation technique is not used in
this example, the fingers may be positioned too late
for accurate rhythm, resulting in uneven notes or
unwanted noises. There will also be many breaks in the
melodic line. In measures 50 and 51, double stopping
with one finger must be used if the string crossings
are to be made without unwanted open string sounds. In
measure 53 double stopping with two fingers must be used.
The shift in measure 52 and the exact double stops that
must be executed are noted in Preliminary Exercise 36,
which shows a practice routine that will help the student
perform this passage evenly and without unwanted sounds.

Preliminary Exercise 36: Finger Preparation

Varied Double Stops

a 2 3 ^ i ^ 1 4 0 3
t^-1 i= I— ^_^/l ]r-z ^-jT ^ f. J __i I

m
I - , 1 2 3 A 3 Z X

ji>[ f p m

double stop, the finger(s) are positioned, and the double

stop is sounded. Where a double stop is not required,

the notes are played with a slur. In Part b, the rest

 162
is omitted, and the double stops are played consecutively
as they appear in the piece. In Part c, the passage is
played slurring two notes at a time, with appropriate
string crossings and with the finger preparation as
required. When Part c can be executed adequately, the
passage can be attempted as written.

The following studies can be given for additional

practice of this technique:

Twenty-Four Studies. Op. 37. J. Dont

Study No. 2

Study No. 3

Study No. 7

Elementary and Progressive Studies, Op. 20. H. Kayser

Study No. 10

Study No. 16

Fifty Easy Melodious Studies, Op. 74. F. Wohlfahrt

Study No. 38

Finger Facility
The second left hand technique that is developed

in Grade Six is finger facility. More rapid movement

of the fingers is required, rapid sequences of triplets

involving string crossings appear in the repertoire,

chromatic changes of finger position are necessary (for

example, a finger playing first in its low position and

 163
then in its high position), and finally, shifting into
a new position during a passage requiring finger facility
is sometimes necessary. Thus, considerable development
in finger facility is expected during Grade Six. Example
48 shows a passage where all of the facets of the tech-
nique mentioned above are required.

Example 48: F. Fiocco.

La Legere. measures 62-63

In this example, the fingers must move rapidly and

lightly and be positioned exactly in place for correct

intonation. Too much tension in the fingers may result

in a slowing of the tempo, unevenness in the rhythm of

the notes, inaccurate intonation, or inability to execute

the sequence. These potential problems may be avoided

by the use of the practice procedure outlined in Prelim-

inary Exercise 37 on page 164.

In all parts of this exercise, the fingers must

remain flexible, remain close to the strings, and move

lightly. The avoidance of stiffness in the fingers is

an important part of the finger flexibility technique.

In Part a, all fingers remain in place as much as pos-

sible. This finger preparation reduces the quantity of

motion required in the passage. Note that this is

 164
Preliminary Exercise 37: Finger Facility--Triplets

qrlfi' tT^tlt'l
i.
i r>n fP f^ •

practiced slowly. Then, in Parts b and c, different

rhythms are inserted into the passage so that each note

is, in turn, played extremely rapidly. The shifting

motion is included in this type of practice, as are the

chromatically altered notes (the B flat and B natural,

and the C natural and C sharp). At all times, intonation

must be carefully listened to and out of tune notes cor-

rected. In Part d, the rhythmic practice is extended to

longer note successions. This procedure should help

the student to attain rapid finger flexibility and to

perform the passage cleanly and precisely in tempo.

The following studies also provide practice in

various types of finger flexibility:

Twenty-Four Studies, Op. 37. J. Dont

Study No. 1

Study No. 5
 165
Study No. 8

Study No. 12

Elementary and Progressive Studies. Op. 20. F. Kayser

Study No. 19
Study No. 22

Elementary Progressive Studies. Third Set. H. Kinsey

Study No. 6
Study No. 12

Fifty Easy Melodious Studies. Op. 74. F. Wohlfahrt

Study No. 39

Shifting
There are two new shifting skills required in the
selected Grade Six repertoire: playing in second posi-
tion and executing a shift after a backward extension.
The previous types of shifts acquired in Grades Four
and Five are also required in Grade Six; however they
should not present any problems. Example 49 shows a
shift after a backward extension required in La Legere.

Example 49: F. Fiocco.

La Legere, measures 1-2

n
^^L.Z 3

4
 166

In this example, the note of the backward extension,

the C sharp in measure 1 will likely be out of tune if

the whole arm moves when the first finger plays the C

sharp. Since this is such a small interval, only the

first finger should be slid back from the D to the C

sharp. Only when the C sharp is sounding does the rest

of the shifting unit move back into second position.

The shift takes place as the second finger moves back

close to the first finger to play the D in measure 2.

This type of shift can be practiced slowly so that the

precise distance of finger movement and the precise moment

of shifting unit motion can be ascertained. The entire

procedure can then be gradually executed more rapidly

until the desired tempo is reached.

The following studies provide additional practice

for position work at the Grade Six level:

Elementary and Progressive Studies, Op. 20. H. Kayser

Study No. 17

Elementary Progressive Studies, Third Set. H. Kinsey

Study No. 2

Study No. 4

Double Stops
The final left hand skill required in the selected

Grade Six pieces is playing double stops. Some of these

double stops are slightly more difficult than required

 167
in previous grades. However, in Grade Six the student
encounters passages of continuous double stops instead
of isolated chords. Many of these double stops also
occur in passages in a more rapid tempo than previously
required. Example 50 shows a typical passage of double
stops.

Example 50: F. Seitz.

Concerto No. 2. 1st movement,
measure 83

- f

Here, the fingers may be slow in reaching their

places, causing uneven note durations. There also may

not be double stop finger preparation, thus causing

unwanted noises or notes due to the non-coordination of

fingers and bow. This passage should be practiced as

outlined in Preliminary Exercise 38.

Preliminary Exercise 38: Continuous Double Stops

a.o , 1

, | , p j i p i M y r i " i F fp> 11
 168
In Part a, the required double stops are played as
solid quarter notes, with a rest in between. During
the rest, the fingers are positioned for the next double
stop. Care must be taken to place the second finger
correctly in its low position as required by the chord.
In Part b, the double stops are played as solid quarter
note chords, but omitting the rests. Part b thus
requires quick positioning of the fingers. The example
is then played as written at a slow tempo, with a gradual
accelerando until the desired tempo is achieved. The
following studies may be used to practice this technique:

Elementary and Progressive Studies. Op. 20. H. Kayser

Study No. 20

Elementary Progressive Studies. Third Set. H. Kinsey

Study No. 13

Seventy-Five Melodious and Progressive Studies, Op. 36.

F. Mazas

Study No. 25

Study No. 27

The left hand skills required in Grade Six are a

result of the more complex technique required by the

repertoire. In most cases, these techniques no longer

occur in isolation, but must be executed along with other

left hand or right hand skills.

 169
Right Hand Skills

The selected Grade Six repertoire requires a number

of right hand skills: (1) spiccato; (2) contact point

and distribution; (3) legato string crossings on slurs;

(4) portato bowing; (5) the flying staccato; and

(6) changing from a slur to spiccato. As in the left hand

skills, a considerable improvement in coordination, and

more complexity is a hallmark of Grade Six technique in

this area.

Spiccato

Spiccato may be a new technique for the Grade Six

student, depending on the choice of repertoire in Grade

Five. Usually, students encounter some difficulty in

getting the bow to bounce correctly. Either, the bow

does not leave the string at all, or it bounces too high,

or the bouncing movement is uneven in execution. All

three results are highly undesirable. The spiccato motion

is complex, requiring a delicate balance between arm

weight and bow speed and bow stroke length. Ideally,

the stroke is first executed in the lower half with broad

flat strokes. The arm leads with a pendulumlike motion

and the hand and fingers follow while remaining flexible.

The natural spring of the bow stick aids in the required

bouncing motion. Executing the stroke toward the middle

of the bow results in a higher bounce and shorter stroke,

while executing the stroke toward the frog results in a

 170

lower bounce and longer stroke. The right arm motion

and contact point also change in response to the dynamic

level required and the note length desired. Example 51

shows a passage where spiccato is required.

Example 51: F. Seitz. Concerto No. 2,

3rd movement, measures 84-87
brilfa>itc.

In this example, in which the spiccato stroke is

required throughout, the notes may not sound evenly if

the stroke is executed incorrectly, either through its

horizontal motion or with the crossing of strings. The

crescendo will likely not be made until the contact point

is moved toward the bridge, the placement point is moved

toward the frog and the stroke becomes longer and the

bounce somewhat lower. Preliminary Exercise 39 on page

171 outlines a practice procedure which should result

in a good spiccato with the requisite crescendo.

The first step, shown in Part a, is to attain a good

mezzo-piano spiccato on an open string (the A string is

shown). Start slowly in the lower third of the bow,

keeping the bow on the string but with a short stroke.

Gradually increase the speed of the stroke, while

 171

Preliminary Exercise 39: Spiccato

a.
lower .^K'lrd
i,|,rt n'jTj J j ^ J] ,n n rm m n ^
\J dcceL'

decreasing its length and lightening the right arm weight.

Repeat this part until the student is able to achieve a

gradual spiccato stroke, by ensuring that the fingers

and wrist remain flexible. Then go to Part b. In Part

b, start immediately with a spiccato, but change the

spiccato by effecting a crescendo followed by a decres-

cendo. Check to make sure that the contact point moves

from the fingerboard toward the bridge for the crescendo

and from the bridge back toward the fingerboard for the

decrescendo. Also check to make sure that the bow stroke

becomes longer and the bounce slightly lower for the

crescendo and that it becomes higher and shorter for

the decrescendo. Then play the passage on the appropri-

ate open strings, as shown in Part c. Be sure that the

string crossings are made accurately and rhythmically.

This should be done at one dynamic level first, then

with the crescendo. Finally, the passage can be attempted

as written. The studies listed below may also be used

for practicing the spiccato bow stroke:

 172
Elementary and Progressive Studies. Op. 20. H. Kayser
Study No. 25
Study No. 26

Elementary Progressive Studies. Third Set. H. Kinsey

Study No. 9
Study No. 14
Study No. 15

Seventy-Five Melodious and Progressive Studies. Op. 36.

F. Mazas

Study No. 16

Contact Point and Distribution

Contact point and distribution are, of course,

required throughout all violin repertoire. In Grade Six,

however, there is an new element of control needed:

rapid and, at times, very subtle changes in placement

and distribution.

Example 52 shows a passage whose performance

requires extremely good bow control. Poor bow distribu-

tion will result in incorrect rhythmic durations,

especially in measures 12 and 13. The bow must be at the

tip for the second beat of measure 13 and at the frog

for the first beat of measure 14. Otherwise, the dotted

eighth-sixteenth rhythm will be inaccurate and the eighth

notes in measure 14 will not be played spiccato. If

changes in contact point are not made, there will be

 173
little or no change in dynamics as required. These

changes must be made quite rapidly, as the tempo indica-

tion is Allegro non troppo.

Example 52: F. Seitz. Concerto No. 2.

1st movement, measures 11-14
SOLO.

m i #-!-

_: mf
V n 4.
3 ^
"Z.

A full bow is required for each of the first three

strokes. Students usually must be reminded of the

accents on the first two notes. The last three eighth

notes in measure 12 are played martele. The martele

stroke is a necessary stroke for the stylistic articula-

tion of many passages in various periods. Most students

do not use a fast enough bow stroke when first executing

the martele. Thus there is not enough energy in the

stroke, a necessary facet of the martele style. The

martele notes are played on the string at the tip. This

leaves the bow in position for the dotted eighth-

sixteenth figure in measure 13. A full bow must then

be used for the next two notes in order to put the bow

at the frog for the eighth notes at the beginning of

measure 14, and the accented half note that follows.

The bow should be near the bridge at the beginning of

this passage, moving about half way between the bridge

and fingerboard on the eighth notes in measure 12 and

 174
moving toward the bridge again on the half note in

measure 14. A practice technique that will help the

student attain the required bow control is shown in

Preliminary Exercise 40.

Preliminary Exercise 40: Contact Point—Distribution

>^0 tip
i
Lr L •1,11 .H Jjj I j r ^ JI jj^ ^

^
b. V n
8i^. ,I,I|,HJJJ|JJ-J ,1 I J-3,li

This passage should first be practiced on an open

string using the equivalent bow stroke rhythm shown in

Part a. Care should be taken to ensure that the appro-

priate amount of bow is used for each note in the

exercise. Once the bow distribution is correct, the

accents and dynamics are added, as in Part b. Then the

appropriate open string for each note is used (but not

the actual pitches) as shown in Part c. Once this can

be performed as desired, the passage can be attempted

as written. Careful work as outlined above will ensure

an exciting performance of this passage, which is the

opening solo entry in the concerto.

The following studies may be used for additional

practice in contact point and distribution:

 175
Elementary and Progressive Studies. Op. 20. H. Kayser
Study No. 25

Elementary Progressive Studies. Third Set. H. Kinsey

Study No. 2

Study No. 14

Seventy-Five Melodious and Progressive Studies, Op. 36.

F. Mazas

Study No. 16

Legato String Crossings on Slurs

There is one further development of the technique
of executing legato string crossings on slurs. In the
selected Grade Six pieces, a number of identical string
crossings between two adjacent strings are required on
one bow stroke. This is shown in Example 53.

Example 53: F. Fiocco.

La Legere, measures 22-23

poco o- poco cresc.

In this passage, five string crossings are necessary

in each stroke--three upward crossings and two downward

crossings. In these crossings, the scope of the arc

must be identical for each crossing, and the bow must

clearly play on each string involved in each crossing.

If the crossings are not identical, there will be a tonal

 176
unevenness. If the stroke misses a string, some of the
notes will not sound. In addition, the passage will be
unclear musically. For best results, the arc described
by the bow moves only enough to just clear each string.
A crescendo also starts at this spot, which requires
careful contact point work. Preliminary Exercise 41
outlines a procedure that will help ensure the correct
execution of this stroke.

Preliminary Exercise 41: Legato String Crossings

Continuous Duplets

b. n

— " ^

The crossing is first practiced using open strings

and sounding the double stops, shown in Part a. After

the double stop is played, the bow moves very slightly,

just enough so that a single instead of double stop is

sounding. Then Part b is practiced. This part should

be repeated until both open strings sound evenly in dura-

tion and tone. Menuhin's concept of a wavy motion made

by the arm will likely be quite helpful. Practice should

commence at a slow tempo and gradually increase in speed

 177
until the desired tempo of the passage is attained. In
Part c, the dynamics are added. Adjustments to contact
point, bow speed, and pressure must be made to effect
the crescendo. Once adequate adjustments have been made
to account for the required dynamic change, the passage
should be attempted as written.

Further practice may be given to the student in

the following studies:

Elementary and Progressive Studies. Op. 20. H. Kayser

Study No. 10

Elementary Progressive Studies, Third Set. H. Kinsey

Study No. 10

Fifty Easy Melodious Studies. Op. 74. F. Wohlfahrt

Study No. 27

Twenty-Four Studies, Op. 37. J. Dont

Study No. 3

Study No. 9

The Portato
The portato is not a new stroke for the Grade Six

student. However, two new variations are added to the

stroke: more notes are required on one stroke; and it is

required on a down-bow stroke. As shown in Examples 54

and 55, in some passages more difficult bow changes and

string crossings surround the portato stroke.

 178
Example 54: F. Fiocco. Example 55: F. Seitz.
La Legere, measure 55 Concerto No. 2.
1st movement,

M
measure 28

sempre difn.

There are similar problems in both these examples.

The notes may be given uneven durational values if the
bow is not distributed evenly. There may be too much
separation or not enough separation between the notes.
In Example 54, the first note of the portato may not
sound if the bow has not made a good articulate string
crossing. In Example 55, the portato must be executed
with a down-bow. For some students, this is more
difficult than an up-bow portato. While the up-bow
portato may be felt to be executed with a lower arm
motion, the down-bow portato needs to have a feeling of
the index finger starting the motion with the lower arm
continuing it. Preliminary Exercise 42 may help the
student acquire and develop the portato stroke technique

Preliminary Exercise 42: Down-bow and Up-bow Portato

This stroke is practiced on an open string, shown

in Part a. Part a is repeated starting with an up-bow.

The student should attempt to make both the up-bow and

 179

the down-bow portato notes equal in length and tonal

quality. The amount of separation between the notes

can be worked out with Part a. In Part b, the string

crossings necessary for Example 54 are inserted, but

playing only open strings. Thus, the attention can be

focussed on the bow. Once Part b can be played satisfac

torily, the written passage can be attempted.

The Flying Staccato

The flying staccato is a new skill for Grade Six

students. In the flying staccato, the bow is bounced

between each note. This is always done on an up-bow,

as shown in Example 56.

Example 56: L. van Beethoven.

Minuet in G. measures 17-18

Usually, the dotted notes are not bounced when they

are first encountered. When they are bounced, there is

very often an inaccurate bounce, resulting in poor rhyth-

mic accuracy, unclear string crossings, and tonal uneven-

ness. The arm movement remains essentially horizontal.

Begin the motion on the string (up-bow) and lift the

bow very slightly with the hand and fingers, the arm

following. Lifting the elbow will assist. The fingers

recover slightly, and the unit repeats the sequence of

 180

motions. The importance of the arm, hand, or fingers

changes according to the dynamic level. Therefore,

attention to the right hand and arm will usually solve

the problems associated with this stroke. A practice

technique is shown in Preliminary Exercise 43.

Preliminary Exercise 43: The Flying Staccato

l*wer Kalf n V
a. V b. n Y

• 9 • • ^ «

In Part a, the stroke is practiced on an open A

string, so that attention can be focussed on the right

hand and arm. The exercise is started with the bow on

the string. The bow is lifted with the wrist and fingers

after the first note, and the arm then bounces the bow

for the remaining three notes. Part a should be repeated,

up-bow always, with an attempt being made to perfect

the finger and wrist motion and co-ordinate it with the

up-bow arm motion. Once Part a is satisfactory, the

appropriate open strings and bow rhythm should be added

as shown in Part b. Note that the staccato portion of

the exercise always starts with the bow on the string.

Only when this part can be done evenly and with a con-

sistent sound should the passage be played as written.

Study No. 47 in Wohlfahrt's Fifty Easy Melodious

Studies, Op. 74 can be used for additional practice of

this skill.
 181
Spiccato after a Slur

The final right arm skill, changing from a slur to

spiccato, is also new for the Grade Six student. This
is shown in Example 57.

Example 57: F. Seitz. Concerto No. 2.

1st movement, measure 38

In this example, if the change from the slur to the

spiccato is not made properly, the spiccato notes may be

uneven, or sound poorly, if they sound at all. This

potential problem can be avoided by keeping the bow on

the string after the second note in the slur. It stays

on the string for the first spiccato note and is lifted

after that note is sounded. The next five sixteenth

notes are bounced. The eighth note B on the third beat

is bounced, then the slurs are played as written, with

the bow remaining on the string. Preliminary Exercise

44 shows a preview exercise.

Preliminary Exercise 44:

From Slurring to Spiccato

nV
 182
This should be practiced on open strings, playing
a downbow eighth note, keeping the bow on the string
for the first sixteenth note, and then playing spiccato
strokes for the remaining sixteenth notes. The last
eighth note is bounced. Start slowly, and gradually
increase the tempo. Once this open string exercise sounds
as desired, add the written notes.

The increasing complexities of spiccato, more subtle

bow distribution, more difficult string crossings, down-
-bow portato, the flying staccato, and changing from a
slur to spiccato make Grade Six bowing technique impor-
tant. Therefore, a good deal of attention must be given
to right arm development.

Combination Skills

There are three combination skills required in the

selected Grade Six repertoire. The first of these is

shown in Example 58.

Example 58: F. Seitz. Concerto No. 2,

1st movement, measure 42
n

cresc.

This is similar to the combination skill in

Rieding's Air Varie that was discussed in the section on

Grade Five skills. This particular example is more com-

plex, however, because intervals of a third are required,

 183

more difficult than the interval of a second required

in the Air Vari^. In the Concerto No. S>, the first finger

must play in both its high position and then its low

position in beat three, and there are string crossings

required in the passage. Preliminary Exercise 34 can

be adapted to this situation, taking special care with

the F natural to G sharp interval and the placement of

the first finger in the third beat, and adding the appro-

priate string crossings to the exercise.

The second combination skill is shown in Example 59.

Example 59: F. Seitz. Concerto No. 2.

1st movement, measures 43-44

The notes in the first beat of measure 44 are

usually poorly prepared by the left hand resulting in

unwanted notes sounding. Also, there is usually too

little bow left to get a good sound on the open A and E

double-stop, which must be lifted. Preliminary Exercise

45 shows a practice exercise for this type of combination

skill.

Preliminary Exercise 45: Double Stopped Chords

a. ^,^*'P b. \i^ c.
c. ... d. ^
d. ,.
l^^ 'y.\M^

i *
i
 184

As shown in Part a, the left hand prepares by

placing the first finger on both G and D string when the

first low A is played. The grace notes and the A-E

double stop are played as a four-note chord, split two

notes (G and D) played in the upper third of the bow

and two notes (A and E) played in the middle of the bow.

Since this is an up-bow, this string crossing is done

in the upper half of the bow. In Parts b, c, and d the

bow arm lifts to finish the stroke. On the first beat

of measure 44, and in the following three double stops,

the fingers must be prepared well ahead of each bow stroke

if the passage is to be clear. The bow strokes should

be practiced on open strings, remembering to execute

the stroke in the upper half of the bow before the passage

is played as written.

The final combination skill required in the selected

Grade Six repertoire is shown in Example 60.

Example 60: L. van Beethoven.

Minuet in G. measure 1
3
i
a^aruu
p con grazia

Usually, when first encountered by the student,

these accents are not sounded. Sometimes the student

attempts to play the accents by stopping the bow before

each one, resulting in an interruption of the tempo and

 185
melodic line. At other times, the left hand and right
hand are not coordinated, resulting in accents on the
wrong notes and unwanted grace notes. In this example,
the first accent in the measure is made normally with
the bow. However, the second and third accents must be
made without stopping the bow. To make the accent, there
must be abrupt pressure exerted on the bow with the index
finger and wrist, along with an increase in the speed
of the bow and simultaneous placement of the left hand
third finger. If clear accents do not result, Prelimi-
nary Exercise 46 shows a practice exercise that should
help achieve good clear accents.

Preliminary Exercise 46: Finger Accents

In Part a, just one accent is produced on each bow

stroke. This should be repeated until a good accent is

produced every time. Then, as shown in Parts b and c,

more accents are made on each stroke. By repeating these

exercises, bow speed, pressure and contact point can be

adjusted to attain the correct tonal quality and dynamic

level while executing the desired number of accents on

each stroke. The third finger must be placed simultane-

ously with the accents. This can be practiced slowly

until the required coordination of left and right hands

 186
is achieved. The speed can then be gradually increased
until the desired tempo is reached.

Study No. 47 in Wolhfahrt's Fifty Easy Melodious

Studies, Op. 74 can be used for additional practice of
this skill.

Interpretive Skills

In Grade Six, the student encounters a number of

styles requiring new interpretive skills: (1) when to
use the martele stroke for separate notes; (2) when to
use spiccato bowing in phrases; (3) the cadenza in a
concerto; (4) concerto form itself; and (5) rubato.
The correct and thoughtful use of style can make a crit-
ical difference to a musical performance.

Separation of Notes

Example 61 shows how to correctly separate notes.

Example 61: F. Seitz. Concerto No. 2,

1st movement, measures 15-18

V n ^
i^ ^
i i
^

The eighth notes at the end of measure 16 are marked

with dots, which indicates that they are to be separated.

Many students will try to bounce the bow for these notes.

However, the bow is near the tip at this point and must

remain near the tip for the correct execution of measure

 187
17. Therefore, the eighth notes in question must be
played at the tip. Thus, bow distribution sometimes
determines the exact technique required. The bow must
stay on the string, but a slight separation between each
note must be executed. This is the martele bow stroke
that the student should know, although this passage may
require a more rapid execution of the technique than
was previously necessary. In measure 18, however, the
eighth notes are played at the frog (note the up-bow
slur in the last two beats of measure 17) and will be
bounced.

Correct Stylistic Articulation

Example 62 shows another stylistic problem, correct

articulation.

Example 62: F. Seitz. Concerto No. 2.

3rd movement, measures 8-10

i rrrriiTi_ip i P r py f<? VpTp^ J:pJ_J'i

graMtoso,

Although all of this example can be played without

bouncing the bow, it should be lifted after each upward

stroke in order to achieve the correct stylistic articu-

lation. Thus, the bow lifts after the G in measure 9,

and after the C in measure 10. The B in measure 9 is

bounced. The grace note C before the E in measure 10 is

legato slurred into the E. The actual up-bow lift should

 188
be practiced first on the open A string, in the lower

half, shown in Part a of Preliminary Exercise 47.

Preliminary Exercise 47: Stylistic Articulation

a. y b. V n

i
•* r-\
• f\i > i- J :||rt^
v-t-^ •
^

The lift is a combined motion of the right arm and

fingers. When the lifting motion is accurate, the first
four notes are practiced, but playing on open strings,
going from A to E on an up-bow including the lift at
the end of the stroke, and then playing the next figure
on the open A, bouncing the eighth note. This is shown
in Part b. Measure 10 can be practiced by playing Part
c, if necessary.

The Cadenza

An example of the cadenza, which is likely new to

the student's experience, is shown in Example 63.

Example 63: F. Seitz. Concerto No. 2,

1st movement, measure 28

|Vrjjij^n^
V> velovf

V S'^- T
 189
Faced with this array of difficult looking figures,
most students simply skip over it upon encountering it
for the first time. Even after it is learned, the
cadenza often sticks out, seemingly divorced from the
music that surrounds it.

If the sixteenth note passage causes left hand prob-

lems, it should be divided into rhythmic groups of four
notes each and practiced with the rhythms shown in Pre-
liminary Exercise 48.

Preliminary Exercise 48: The Cadenza

b. d.
a.
im rm. nn nn. c.

Once the left hand fingers can move fast enough, the

four note rhythmic groups should be combined (eight notes,

then twelve notes) until all the notes can be played

with one bow as written. As to making the cadenza a

musical part of the concerto, this can be done by demon-

stration. The teacher can make a cassette tape for the

student to hear, and then emulate. In any case, the

cadenza should always be thoroughly integrated with the

concerto through discussion of style, practice, and emu-

lation .
 190
The Concerto

Grade Six is the first grade in which a student

encounters the concerto. As such, it should be discussed

with the student, pointing out the three sections with

their differing time signatures, forms, and moods. As

for all repertoire, the discussion should also include

stylistic decisions and other interpretive decisions

such as phrasing, mood, and tempo. The importance of

vibrato as an interpretive tool should be particularly

discussed. Then the points made in discussion should

be implemented in the performance of the concerto being

studied. Thus, the concerto, which is an important form

for the violin, should receive a great deal of attention

in Grade Six studies.

Rubato
The final interpretive skill required in the Grade

Six pieces is rubato. Rubato is the slowing down or

speeding up of the pulse within a measure to create a

musical or emotional effect. Sometimes this is indicated

in the score, while at other times, rubato is inserted

at the discretion of the performer. Clearly, a discus-

sion of rubato must include how to make the rubato

musical. The rubato must be done with taste, and will

vary depending on the tempo, style, and mood of the com-

position. The rubato cannot be too sudden, or too slow

or lose too much tempo. The Minuet in G is a good piece

 191
in which to study rubato, since its phrases are conducive
to the use of rubato.

Grade Six is a vitally important grade for the

introduction, further development, and use of interpre-
tive skills. One cannot neglect this particular area
of study and still expect the student to attain musical
performances of pieces at this grade level.

Trouble Spots

With a grade that has many complex passages, it is

not surprising that there are a number of trouble spots
in the selected Grade Six pieces. Although many poten-
tial trouble spots are successfully alleviated by atten-
tion to skill development, there remain six passages
that present special problems. The first of these is
shown in Example 64.

Example 64: F. Seitz.

Concerto No. 2,
2nd movement, measure 22
n

i^rliUIi^
PP

Usually, the thirty-second notes are played too

fast, and they may be out of tune. This problem can be

solved by subdividing the entire measure into sixteenth

note beats, and by pointing out to the student that each

beat will receive two thirty-second notes. The passage

 192
should then be played slowly, ensuring that the dotted
eighth note receives three beats and that the thirty-
second notes are accurate rhythmically. At this time,
the intonation can also be checked. Once accuracy is
achieved, the passage can be gradually increased in speed
until the desired tempo is achieved, and the eighth note
beats are re-established.

The second trouble spot in the selected Grade Six

repertoire is shown in Example 65.

Example 65: F. Seitz.

Concerto No. 2.
3rd. movement, measures 72-73

This spot very often is performed unevenly, with poor

tone, out of tune notes, and inaccurate stress. The

sixteenth notes must be even, and played precisely in

rhythm. The E sharp played by the first finger must be

in tune, with the second finger positioned right next

to it for the F sharp. The bow must cross strings

smoothly in a legato style. Preliminary Exercise 49

suggests a practice routine to solve these problems.

In Part a, the bow plays its rhythm, using full

strokes and appropriate string crossings on open strings.

It is important that a full bow stroke is used, since

the arm needs the full stroke motion to execute correctly

 193
the smooth string crossing with accurate rhythm. This
motion also helps the left hand fingers to remain flex-
ible and without tension.

Preliminary Exercise 49:

Rhythm--Finger Placement
a.

14"" J JJ ^'
iri, nn\\ nn^^rm
In Part b, appropriate finger placements are prac-

ticed, to help achieve smooth string crossings without

unwanted noises or open string sounds. Then, the rhythms

in Part c are added to the sixteenth note motives in

the example and are practiced to help achieve rapid and

accurate finger movement. Special attention must be

paid to the first finger when it is positioned for the

E sharp, since it is likely to be flat. Once accuracy

and speed have been attained, the passage should be played

as written, using full bow strokes, legato string cross-

ings, and light, flexible finger action.

The third trouble spot is shown in Example 66.

Example 66: F. Seitz. Concerto No. 2,

1st movement, measure 79

I
m u n s

f ^
. Ir.
f ^
 194
It must be pointed out to students that the sharp
above the trill sign means that the ornament is to be
executed using B natural and C sharp. Also, the trill
must not be allowed to create a rubato in the tempo.
While most students have no trouble starting the trill,
almost all students continue the trill too long. A three-
step practice exercise, shown in Preliminary Exercise
50, will help the student achieve a rhythmical trill of
the correct duration.

Preliminary Exercise 50: The Trill

rjf">i'i\

First, as shown in Part a, the example is practiced

at a slow tempo without the trill to ensure that each

note is of the proper duration. Then, in Part b, while

maintaining the slow tempo, a five-note trill is added.

Once the trill is rhythmical, the tempo is gradually

increased until the entire example can be executed

comfortably and with good articulation at the desired

performance tempo.
 195
The fourth trouble spot is shown in Example 67.

Example 67: L. van Beethoven.

Minuet in G. measures 12-13

i^i^niinnim
w
1^1 ?^ 1

In this spot, the first finger slide from B to A

sharp may be out of tune and inaccurate rhythmically.

Then the second finger, which must play the B on both

the second and third beats, may be sharp. The slide

should be practiced slowly, subdividing the dotted eighth-

sixteenth note unit into four beats and ensuring that

the slide takes place precisely on the fourth beat. At

the same time, care must be taken that the A sharp is

in tune. Once tonal and rhythmic accuracy have been

established, the unit is practiced increasingly faster

until the desired tempo is reached but ensuring that

the rhythm remains accurate and that the A sharp is always

in tune. Then, the second finger is placed immediately

next to the first finger to play the B on the second

and third beats. Normally, the tip of the second finger

must actually touch the tip of the first finger. Of

course, the second finger must move with rhythmic accuracy

and play a finger accent on the B.

 196
Summary

There is a new intricacy in the Grade Six repertoire

that makes this an exciting grade for both teacher and

student. The student is interested in the new skills

being acquired and feels good about the new techniques

that he can now execute, making possible considerable

advancement in musicality and technical achievement.

Grade Seven Skills

Grade Seven is the final grade in the intermediate
level. While there is continued development of left
hand, right hand, combination and interpretive skills,
and the acquisition of new skills in these areas, much
of the Grade Seven repertoire provides opportunities to
practice and improve already acquired technique. Such
technique will be mentioned briefly, but examples or
exercises will not be provided or discussed.

Left Hand Skills

For the left hand, the selected Grade Seven

repertoire requires finger preparation, flexibility,

and shifting.

Finger Preparation
There is no new finger preparation technique

required in the selected Grade Seven repertoire, nor is

there any development of previously acquired finger

preparation skills. However, much of the repertoire

 197
requires one or more of the finger preparation types

previously discussed in this chapter. The following

studies provide practice for this technique.

Twenty-Four Studies. Op. 37. J. Dont

Study No. 13

Study No. 14

Study No. 15

Study No. 16

Study No. 18

Thirty-Six Studies. F. Fiorillo

Study No. 1
Study No. 5

Seventy-Five Melodious and Progressive Studies. Op. 36

F. Mazas

Study No. 19

Study No. 21

Elementary and Progressive Studies. Op. 20. H. Kayser

Study No. 18

Study No. 24

Study No. 26

Study No. 29

Fifty Easy Melodious Studies. Op. 74. F. Wohlfahrt

Study No. 40

Study No. 42
 198
Finger Facility

The skill of finger facility is developed in the

selected Grade Seven repertoire by the extended perfor-

mance of a two-note repetition, shown in Example 68.

Example 68: J. P. Senaille.

Allegro Spiritoso. measures 49-51

Speed of execution is a problem in this passage,

as well as intonation. However, the greatest problem

is that the fingers get mixed up. Students must recog-

nize that this passage contains a set of intervals that

are repeated at higher and higher tonal levels--the

earmark of a sequence. Thus, the first step is to recog-

nize the intervals in the sequence. Then, each step of

the sequence should be played slowly, checking on intona-

tion. Measure 49 can then be repeated, gradually

increasing the tempo. Once measure 49 can be performed

at the correct tempo, measure 50 should be added, and the

two measures practiced. Measure 51 should be added

when the first two measures in the example can be played

up to tempo. Finally, the entire passage should be

played, concentrating on the first note in each sequence.

With such a practice technique, the passage can be exe-

cuted with confidence at the quick tempo required.

 199
The following studies provide practice in finger
facility at the Grade Seven level.

Twenty-Four Studies. Op. 37. J. Dont

Study No. 11

Thirty-Six Studies. F. Fiorillo

Study No. 1

Elementary and Progressive Studies, Op. 20. H. Kayser

Study No. 16

Study No. 24

Study No. 25

Elementary Progressive Studies, Third Set. H. Kinsey

Study No. 12

Seventy-Five Melodious and Progressive Studies, Op. 36.

F. Mazas

Study No. 5

Study No. 6

Study No. 19

Shifting
There are no new types of shifts required in the

selected Grade Seven pieces. However, shifting into

and playing in fifth position is required, and there is

a greater use of contraction shifting. There is much

greater use of second through fifth positions in Grade

 200
Seven, as the different positions are used for

interpretive reasons in the Grade Seven repertoire.

A passage requiring a shift into and the playing

in fifth position is shown in Example 69.

Example 69: J. P. Senaille.

Allegro Spiritoso. measures 42-44

In this example, a shift from third to fifth posi-

tion should be executed from the second B to the C in

measure 42. This is a shift by the first finger, which

should remain in place upon sounding the A in measure

42. Intonation of the fifth position notes should be

carefully checked by playing the passage slowly.

A passage which requires a contraction shift and

the playing in a higher position for interpretive reasons

is shown in Example 70.

Example 70: T. Arne.

Sonata in B flat, measures 5-7

Here, the contraction shift occurs in measure 5,

when the second finger plays the E flat following the

A, and the first finger plays the following D. The

 201
result of this fingering is to effect a shift from second
position to third position. The entire unit moves simul-
taneously with the sounding of the D, thereby arriving
in third position. The notes in measure 5 will be out
of tune unless special attention is given to finger
spacing. The third finger must be placed immediately
next to the fourth finger when it plays the A, otherwise
the A will be flat. Likewise, the second finger must
be placed immediately next to the third for the E flat,
and the first placed immediately next to the second for
the D or the latter two notes will also be flat.
Since this passage is marked "dolce cantabile,"
all the notes in measure 6 may be played on the D string
to effect a more even tonal and timbral texture. This
will require a shift to fifth position on the D string
on the B natural, a shift back to second position on
the F in measure 7, and a shift up to fourth position
on the A in measure 7. Preliminary Exercise 51 provides
a procedure that will ensure accurate intonation.

Preliminary Exercise 51: Shifting on One String

m X
a. m Y I b.^ I C.I 1ttJtt
c.

r iti^/^^-i^Ij,^^^ iii^,jijiuii
1^1 1^, ,

In Part a, a slow portamento is played by the first

finger between its notes in the passage, starting with

the G (measure 6 ) , sliding up to the B, and then back

 202
to the F. The student must remember to move the whole
shifting unit, including the thumb. Once the portamento
is secure, rhythms are added to effect a more rapid
shift, as shown in Part b. In Part c, the notes of the
passage are played, with the first finger lifting for
the shift back to second position. An intermediary
note (Bb fourth finger) is used in practice to ensure
that this shift is accurate. Once Part c is executed
successfully, the passage can be played without the
intermediary note.

The following studies provide practice in shifting

at the Grade Seven level:

Elementary and Progressive Studies. Op. 20. H. Kayser

Study No. 27

Study No. 29

Study No. 31

Elementary Progressive Studies, Third Set. H. Kinsey

Study No. 21

Study No. 22

Study No. 23

Study No. 24

Twenty-Four Studies, Op. 37. J. Dont

Study No. 3
 203
Seventy-Five Melodious and Progressive Studies. Op. 36.
F. Mazas

Study No. 7

Study No. 19

Study No. 20

For the left hand. Grade Seven provides opportu-

nities to develop new skills and to improve previously

acquired skills. The development and improvement of

finger facility and the acquisition of ornament execu-

tion is of special importance.

Right Hand Skills

Development of bow distribution is required in the

selected Grade Seven repertoire. Previously acquired

skills, such as spiccato, martele, legato string cross-

ings, and accents, are also required but are not

developed in any special way in this grade. The follow-

ing studies provide practice opportunities for spiccato

if such work is needed.

Elementary and Progressive Studies, Op. 20. H. Kayser

Study No. 19

Study No. 24

Study No. 26

Elementary Progressive Studies, Third Set. H. Kinsey

Study No. 15
 204
Seventy-Five Melodious and Progressive Studies. Op. 36.
F. Mazas

Study No. 28

Study No. 29

Further practice in legato string crossings may be

obtained with the following:

Thirty-Six Studies. F. Fiorillo

Study No. 1

Seventy-Five Melodious and Progressive Studies, Op. 36.

F. Mazas

Study No. 8

Study No. 20

Further practice in accents may be obtained in

Study No. 20 in Seventy-Five Melodious and Progressive

Studies. Op. 36 by Mazas.

Bow Distribution
The Grade Seven repertoire requires more advanced

planning of bow distribution. Examples 71A, 71B, and

71C show three appearances of the same phrase, each

with different note values.

Note especially the first and last notes of each

phrase. Failure to account for the change in note value

with varying bow speed will result in a weak sound on

the last notes in each phrase due to insufficient bow.

 205
Example 71: B. Bartok
Evening in the Village

Example 71A: measures 1-2

wif,nprtsti¥o

Example 71B: measures 21-22

n
4-

Example 71C: measures 42-44

The bow should get to the tip on the down-bow on

each beginning note. The last note must be held for the

proper length. Study No. 12 in Mazas' Seventy-Five

Melodious and Progressive Studies, Op. 36 provides fur-

ther practice in this technique at the Grade Seven level.

The Grade Seven repertoire provides opportunities

for students to gain important control with contact

point and bow distribution. The previously acquired

techniques of legato string crossing, spiccato, and

playing accents are also required and thus receive needed

continued practice.
 206
Combination Skills

There are two combination skills required in the

selected Grade Seven repertoire. The first, shown in
Example 72, develops a combination skill first encoun-
tered in Grade Five.

Example 72: J. P. Senaille.

Allegro Spiritoso. measures 22-23

I ^
• ^

cresc.

In this example, more complex fingering is required

than was the case in the previous grades. There is

usually an inaccurate coordination of the fingers and

bow. As shown in Part a of Preliminary Exercise 52,

this passage must be practiced slowly, breaking the

passage into pairs of notes, with a rest between each

pair. In Part b, two pairs of notes are played in suc-

cession, without a rest, and at the correct tempo.

Pairs of notes are added, as in Parts c and d, until

the entire passage can be played. It is important that

one think of short bursts of notes in the last three

pa rts of this exercise and during performance of the

passage
 207
Preliminary Exercise 52: Combination Skill

fh ' f J ' l Q ' U 'I M"0'll

'' I ff Q 0 ti
ci. a n
f\ ^ s r^_ ^^v
m
^ ^

m
The second type of combination skill, which is new

for the Grade Seven student, is shown in Example 73.

Example 73: T. Arne.

Sonata in B flat - Gavotte,
measures 10-12

In this example, the repetition of the motive is

usually not rapid enough, the notes are often out of

tune, the rhythm is inaccurate, and there is very

inarticulate bow-finger coordination. The fingers must

remain flexible, yet remain in place as much as possible.

Practice suggestions for this passage are shown in

Preliminary Exercise 53.

 208

Preliminary Exercise 53: Combination Skill

Motive Repetition

c.
i i i'- li
In Part a, the motive is played slowly, checking for

accurate intonation, accurate rhythm, and keeping the

first and second fingers in place when possible. Once

the fingers remain in place, the notes are in tune, and

the rhythm is correct, Part b should be practiced. In

Part b, rhythms are inserted on an open A to ensure

that the bow is playing the syncopated rhythm accurately.

In Part c, rhythms are inserted with the written notes

to achieve quick, accurate finger motion. The passage

must be played slowly at first, and then faster until

the desired tempo is achieved. When performed up to

the Allegro tempo, very short bow strokes are used.

Interpretive Skills
There are four interpretive skills presented in

the selected Grade Seven repertoire: (1) Baroque

phrasing; (2) rubato in the middle of a phrase;

(3) 20th Century idiom; and (4) ornamentation.

Baroque Phrasing
The Baroque era is well represented in the Grade

Seven repertoire, thus allowing ample opportunity for

the student to become familiar with the Baroque style.

 209

Example 74 shows a passage in which Baroque phrasing is

essential for a stylistic performance.

Example 74: J.P. Senaille.

Allegro Spiritoso. measures 13-16

In this example, there are two problems. The first

is that most students do not properly articulate the

slurred pairs of eighth notes. The first note in each

pair is slightly emphasized, while the second note in

each pair is slightly de-emphasized. There is a very

slight cessation of sound between each pair. The second

problem is that many students do not find the correct

focal point of the phrase. In this passage, the focal

point occurs on the B flat at the beginning of measure

15. These two problems can be solved by the use of

Preliminary Exercise 54.

Preliminary Exercise 54: Baroque Style

m. ?

F r n'f > 1
 210
In Part a, the pairs of notes are played slowly,
with a definite emphasis on the first note of each pair
and a rest between each pair of notes. Then, in Part
b, the rests are omitted, and contact point and speed
are changed to effect the crescendo. A slight accent
is placed on the high B flat. Part b is repeated with
an accelerando on each repetition until the Vivo tempo
is reached.

Example 75 shows a passage in which a martele stroke

must be used on all quarter notes, together with the
phrasing discussed in the previous example.

Example 75: T. Arne.

Sonata in B flat - Gavotte, measures 1-4
n
1

^^''"'i^'^ r \frU N b^^

If this is not done, the passage will be quite

inarticulate and not reminiscent of a gavotte. Attention

must be given to such details if a stylistic performance

is to be achieved.

Rubato within a Phrase: 20th Century

While most instances of rubato a student has

encountered prior to Grade Seven have occurred at the end

of a phrase, some composers require rubato in the middle

of a phrase. Such a composer is Bartok. Example 76

shows a phrase in which rubato is required.

 211
Example 76: B. Bartok.
Evening in the Village, measures 1-4

nif, express! ¥0

In this example, students should be asked to exer-

cise their musical imagination to change the bland result
of playing this phrase in straight time, into the
creating of expressive imagery through the use of rubato.
Bow distribution makes rubato and changing stress pos-
sible. The teacher may give a demonstration, for
example, by putting stress on the second D in measure 2
and on the E in measure 4. However, the student should
be encouraged to experiment with the phrase to create the
mood and expression he desires. As shown in Preliminary
Exercise 55, the figure may first be practiced on an
open A to work out bow distribution. Thus, the focus
is on the bow, not the left hand.

Preliminary Exercise 55: Rubato

^ ^

Ornaments
The use of ornaments is developed in the selected

Grade Seven repertoire by the introduction of symbols

new to the student and by greater use of ornaments than

 212
in previous repertoire. The following symbols, shown

in Example 77, are new to the Grade Seven student.

Example 77: T. Arne.

Sonata in B flat,
measures 9, 23

m ''vCr m
Since these symbols are new. Grade Seven students
likely do not know what the symbols mean or how to exe-
cute them. It should be explained that the first symbol,
which occurs in measure 9, means that the grace note is
to be played on the beat and get equal value to the
main note. This is shown in Part a of Preliminary
Exercise 56.

Preliminary Exercise 56: Ornaments

&
a.

^"^'{j
^

^
^m
('h^ f f r ^ r r a
This type of grace note should be compared with

the type shown in Part b, which is played before the

beat, and in which the main note receives full durational

value. Part c shows the turn, which occurs in measure

23. In this case, the fourth beat of the measure in

 213
question is played either as D, C, B natural, C, in

equal sixteenth notes or C, D, C, B natural, C in triplet

thirty-second notes and two sixteenth notes. Both these

ornaments may have to be played slowly a few times before

being executed in tempo.

The ornaments shown in Example 78 are not new to the

student, but they must be executed in slightly different

ways than was previously required.

Example 78: J. P. Senaille.

Allegro Spiritoso. measures 3, 17, 52

The mordent in measure 3 must be played on the beat,

instead of before the beat, because of the rapid tempo

and the need for extremely clear articulation of every

note in this measure. As shown in Part a of Preliminary

Exercise 57, the notes may be written out and played

slowly. Once the mordent is clearly on the beat, the

tempo should be gradually increased with a quicker and

quicker bow stroke until the desired tempo is reached.

This ornament requires exemplary finger facility when

performed up to tempo.
 214
Preliminary Exercise 57:
Realization of Ornaments
b.

g
^

'luMi ^ ^

The trill in measure 17 should be performed as

written in Part b. Thus, it starts on the fourth eighth

note beat in the measure and four equal notes are played.

Once again, this ornament should be practiced slowly

for clarity, and then gradually faster and faster until

the desired tempo is achieved. The trill in measure 52

is written out in Part c. The trill should stop on the

dot of the dotted eighth note. Five notes are played

on the third eighth note beat of measure 52--three

triplet sixty-fourth notes and two equal thirty-second

notes. The fourth eighth note beat consists of a six-

teenth note B natural and a sixteenth note A. This

figure should also be repeated slowly and accurately

and then gradually repeated faster until the desired

tempo with clear articulation is achieved. A bow accent

at the beginning of each ornament will help ensure great

clarity.
 215
The following studies provide additional practice
of the ornaments found in the Grade Seven pieces:

Twenty-Four Studies. Op. 37. J. Dont

Study No. 11

Study No. 15

Thirty-Six Studies. F. Fiorillo

Study No. 2

Study No. 6

Study No. 7

Seventy-Five Melodious and Progressive Studies, Op. 36.

F. Mazas

Study No. 14

Study No. 15

Study No. 23

Study No. 24

The Sonata
This is also an appropriate grade to discuss the

sonata, which is first encountered in Grade Seven.

Therefore, a discussion should take place which includes

the development of the sonata, the nature of the ensemble

in a sonata, the usual number of movements in a sonata

and their derivation, and the style periods in which

sonatas have been written. Such a discussion will

enhance the learning of a sonata and its complexities.

 216
The interpretive skills acquired and developed in
Grade Seven are important for the continued musical
growth of the student. Without the experience of these
interpretive skills as a base, the student will not be
able to perform more advanced compositions musically.

Trouble Spots

There are six trouble spots presented in the

selected Grade Seven repertoire: (1) the martel^ stroke
at a fast tempo; (2) the performance of a cadenza;
(3) pizzicato chords; (4) an entry in a new position
after a rest; (5) a quick change of bow from spiccato
to detache; and (6) the final chord of a piece.

The Martele

Example 79 shows a passage where the use of the

y
martele stroke is required at a fast tempo

Example 79: J. P. Senaille.

Allegro Spiritoso, measures 1-4

It:

Usually, the bow does not play a good martele stroke

in the Allegro Spiritoso due to the extremely quick

tempo. This passage should be practiced slowly, using

about half the bow between the middle and tip for each

stroke, with rests in between each note. The stroke is

 217

executed very quickly. Thus, there is almost more rest

than sound in each martele stroke. When the stroke is

executed accurately at a slow tempo, it can be grad-

ually accelerated until the desired tempo is achieved.

A high energy level must always be maintained. The

following studies provide practice in the martele stroke:

Twenty-Four Studies. Op. 37. J. Dont

Study No. 12

Elementary and Progressive Studies. Op. 20. H. Kayser

Study No. 24

Study No. 25

Study No. 26

Elementary Progressive Studies, Third Set. H. Kinsey

Study No. 15

The Cadenza
The cadenza is found in the Sonata in B flat by

Arne. While not technically difficult, most students

have difficulty in making the cadenza sound like it

belongs to the rest of the sonata. Similar procedures

to those used for the cadenza in the Seitz Concerto No.

2. in the Grade 6 repertoire will work effectively in

overcoming this problem.

 218
Pizzicato Chords

A pizzicato chord passage is shown in Example 80.

Example 80: B. Bartok.

Evening in the Village.
measure 38

A shift from first to third position, which occurs

after the second beat can be a problem if the student
focusses on the upper notes of the chords. If the stu-
dent's attention is redirected to the lower notes, this
becomes a simple shift, shown in Part a of Preliminary
Exercise 58.

Preliminary Exercise 58: Pizzicato Chords

I in
a. n b.
1
^

s ^^J^J- "• i
pisz. arco. pixz. piixz.

Once the shift is accurate, the first finger is

placed on both G and D strings in preparation for the

last chord, as shown in Part b. In pizzicato, the best

sound is produced when the fleshy part of the right hand

finger makes contact as the string is plucked on the

fingerboard, just below the end of the f holes. If the

 219
student is not getting a good pizzicato sound. Part c
should be practiced to ensure that the right hand is
making correct contact with the strings. If the contact
is good, and the sound is still poor, then the left
hand fingers are likely not being placed securely enough
on the string.

Entry in New Position after a Rest

The fourth trouble spot is shown in Example 81.

Example 81: B. Bartok.

Evening in the Village,
measures 19-21

rfTempoI.
z
3 ^
fXr-J:

In this example, the entry after the measure of rest

begins in a higher position. This entry may be out of

tune unless the shift is carefully prepared during the

measure of rest. A practice procedure is shown in

Preliminary Exercise 59.

Preliminary Exercise 59:

Entry after a Rest--New Position

in m J»4
m
a- 2 Z b- z .2 £ p =• 7 ^«^ ^
(I, f-^T :||: r^r ^ ^ ^
 220
The second finger shifts from third position E to
fourth position F sharp on the A string. The third
finger is then placed on D and the fourth finger on the
high E. Each note is sounded as the finger is placed.
This procedure should be repeated slowly until the shift
and subsequent finger placement are secure. As shown
in Part c, during performance, the same procedure is
followed, but without the subsequent sounding of the F
sharp and D.

Quick Change of Bow Technique

The fifth trouble spot is shown in Example 82,

where two different bowing techniques are required in
succession.

Example 82: B. Bartok.

Evening in the Village,
measures 10-11

p, sckerxMn49

In measure 10, a short, crisp spiccato is required,

while all three notes in measure 11 must be played on

the string. The bow must make a quick, effective tran-

sition between the two techniques. Too large a motion

in measure 10 will likely cause the spiccato to be

rhythmically uneven, and/or result in tonal and dynamic

problems. In measure 11, the eighth note and the dotted

 221

quarter note must get equal amounts of bow. Failure to

do this will leave insufficient bow for the dotted

quarter note resulting in tonal problems. Preliminary

Exercise 60 shows a practice procedure to eliminate these

potential problems.

Preliminary Exercise 60: Changing Bow Technique

n V
a.
Ka. o b.
D. o
o c. q *i , o

g JjjJi:j'j.,Mirm:>.rrij'j.a
p
As shown in Part a, the spiccato should be practiced

with a small forearm and finger motion, adjusting the

amount of bow contact until the desired articulation

and dynamic level are achieved. In Part b, the use of

a fast bow stroke on the eighth note will help to make

the accent, as well as use enough bow so that the dotted

quarter note can be played comfortably. The passage

should be practiced slowly in the lower half of the

bow, on the open A and E strings with appropriate string

crossing points, as shown in Part c. After refining

the bow stroke transition and the appropriate string

crossing points with slow practice, the speed can be

gradually increased until the desired tempo is reached,

using Part c. The passage can then be played as written.

 222
Final Chord

The final trouble spot in the Grade Seven repertoire

is the final chord of the Allegro Sniritn^n, shown in
Example 83.

Example 83: J. P. Senaille.

Allegro Spiritoso. measures 92-93
n
n V

This chord is usually out of tune, sounds poor

tonally, and is too long in duration. The shift to
third position must be made with an intermediary note
to ensure good intonation, and the chord itself is played
as one note, with a fast bow stroke starting with a
sforzando at the frog. Preliminary Exercise 61 shows a
procedure that should result in a short in-tune chord.

Preliminary Exercise 61: Final Chord

m 1 ^

In Part a, the intermediary note for the shift to

third position is played as a check on intonation. The

first finger plays D in third position on the A string,

and the octave is sounded as a check. Then the third

 223
and fourth fingers are placed in position for their
notes. Attention must focus on the third finger F
natural. In Part b, the shift is made silently while
the open D is sounded, the fingers placed in position
and the chord sounded with a full bow stroke. In Part
c, the chord is played down-bow with a fast stroke on the
appropriate open strings. When the open strings sound
satisfactorily, the chord can be played as written.

Summary

Grade Seven, which is the grade immediately preced-

ing the advanced level of violin instruction, requires

greater control of all technique than the previous

grades. The Grade Seven techniques also help in the

acquisition of interpretive skills that are needed for

the stylistic performance of compositions.

The intermediate level of violin instruction is an

important bridge between the beginning level of

instruction, in which basic skills are acquired, and

the advanced level of instruction, in which interpretive

and musical attributes can be enhanced only by the com-

petent execution of violin technique. The intermediate

level provides the student with the requisite skills that

will be needed to perform successfully the concert reper-

toire of the advanced level. With dedicated work the

student can look forward with pleasure to the fruition

of his goal of becoming a musician.

 224

Notes

Dont, Jakob. 24 Studies. Op. 37. New York:

International Music Company, 1955.

Fiorillo, Federigo. 36 Etudes. New York: International

Music Company, 1956.

Kayser, H. E. 36 Studies. Op. 20. New York,

G. Schirmer, 1923.

Kinsey, Herbert. Elementary Progressive Studies,

Sets 1 to 3. London: Associated Board of Royal
Schools of Music, 1963.

Mazas, J. F. 75 Melodious and Progressive Studies,

Op. 36, Book 1. New York: International Music
Company, 1936.

Wohlfahrt, Franz. 60 Studies, Op. 45. New York:

G. Schirmer, 1925.

. 50 Studies, Op. 74. New York: G. Schirmer,

1939.
 CHAPTER V

SUMMARY AND RECOMMENDATIONS

Summary

In the twentieth century, numerous resources

concerning violin instruction have been produced. Among

these are books and articles on how to teach, books and

articles discussing repertoire, films and video tapes

on instruction, and recordings. The vast majority of

these sources are concerned with either the beginning

level of instruction or with advanced repertoire and

performing technique. There are few print sources dealing

with the intermediate level, the level between the

acquiring of a solid foundation in violin performing

technique, and the advanced level of solo and concert

repertoire. There are even fewer films or video tapes

and virtually no recordings.

Nevertheless, the intermediate level is important

for violin technique, for it is at this level that a

student encounters most of the standard musical forms

and acquires the technique that will enable him/her to

perform the advanced level repertoire. It is also during

the intermediate level that the student learns to execute

expressive and stylistic decisions about the pieces he/

she is performing. This is an essential ability that

separates the true artist from the skilled technician.

225
 226

Intermediate level was determined by soliciting

the opinions of six expert Western Board of Music exam-

iners for requisite intermediate technique. Five current

graded lists of repertoire were compared to elicit tech-

nical requirements and studies corresponding to the

technique identified by the panel. Four of the lists

provided suggestions for the systematic development of

scales and technical material. The single exception

was the Texas UIL list, which provided only repertoire

in its listing. Three provided lists of etude material

that corresponded with the graded solo repertoire as

well as suggestions for theory training. The Suzuki

Violin School provided a sequenced skill learning system

for comparison, although it lacks a thorough system of

scales and etudes. The ASTA syllabus has two intermediate

listings--Intermediate A and Intermediate B, while Grades

Four through Seven comprise intermediate level in the

WB syllabus and the RCMT syllabus.

The Western Board of Music Syllabus No. 2 was used

for selecting pieces to be analyzed. This syllabus was

chosen because it is used extensively in western Canada

where the author teaches. The history of the Western

Board of Music was reviewed in brief, its operations

were summarized and its importance in promoting musical

growth throughout western Canada was noted in Chapter I.

The Western Board of Music's syllabi offer a well

 227
thought-out system for guiding the musical growth of
students in an all-encompassing fashion.

The pieces to be analyzed were selected by examining

Western Board of Music violin candidates' entry sheets

for intermediate level examinations for the last decade.

The three most frequently performed pieces from each of

Grades Four through Seven were chosen for analysis.

The pieces were sent to the panel of experts, who

were asked to review the pieces and indicate the skills

required for successful performance. The members of

the panel were also asked to indicate trouble spots in

the pieces, and to reflect on performance problems during

the examinations. This information, which was collected

by the author through personal and telephone interviews,

is summarized in Chapter III.

Of the approximately eighty books and articles read

by the author, fewer than twenty were devoted to inter-

mediate level technique required in the selected pieces.

Aside from spiccato, martel^, flying staccato, vibrato,

portato, and shifting, none of the required skills are

dealt with adequately in the literature. Most of the

advanced books assume that the player can already execute

these techniques; the beginning level books do not even

touch these skills. There is adequate repertoire avail-

able but a dearth of pedagogical material.

 228
Using suggestions gleaned from the review of the
pedagogical literature, the author examined the selected
pieces and offered solutions to potential problems as
well as practice suggestions for the required skills.
For most skills, the author used the suggestions in the
pedagogical literature as the basis for exercises that
he devised dealing with the specific piece. The author
also reviewed the published etude literature and indicated
at the end of the discussion of each technique in each
grade appropriate studies that deal with the required
skill. Where the current literature contained no sug-
gestions regarding a skill, the author wrote short
preliminary exercises that could preview the required
skill or overcome the difficulties in the trouble spots.

Thus, the study has provided violin teachers with

a list of techniques along with pedagogical suggestions
for instruction appropriate for intermediate students,
which was the purpose of the study.

Recommendations

1. An in-depth study of the history of The Western

Board of Music should be undertaken. Although the Western

Board has proven its importance in the musical life of

western Canada and continues to provide leadership in

musical growth, little serious research has taken place

regarding its past development. Documentation is avail-

able and many of the founders can still be interviewed.

 229
2. The current practice of periodically updating

syllabi should be continued. The constant additions and

deletions to the availability of repertoire and pedagog-

ical sources limit the useful life of a syllabus to about

five to six years.

3. New contemporary repertoire at the intermediate

level should be composed. Much of the new repertoire is

written for either the beginning student or for the

advanced professional. Contemporary repertoire at the

intermediate level is needed, and current publicity

efforts such as reading clinics and reviews in periodicals

should continue.

4. New etudes featuring contemporary idioms should

be composed for the intermediate level. These etudes

would not supplant the current standard etude material

but could be used to supplement a realm of musical study

that essentially has stopped with the Romantic era.

5. An in-depth study should be undertaken to iden-

tify the specific skills inherent in the study of the

standard etudes, with a view to publishing a guide.

6. Additional pieces from the currently available

intermediate repertoire should be analyzed for required

skills. Suggestions for solutions to performance

problems should be published in an effort to remedy the

insufficient material available for the teacher of the

intermediate student.
 230
7. Most of the intermediate level violin repertoire

should be recorded by excellent musicians and made avail-

able to the public. There is a lack of recordings

available to the intermediate student. These are gener-

ally available for the beginning student and almost always

available for the advanced player. This lack, which

causes a serious problem for many intermediate students,

should not be there, especially when listening and emu-

lation is so important in violin teaching.

8. Video cassette recordings of the teaching of

intermediate skills should be made available to violin

teachers. So much of our learning is visual, yet the

teacher and the student at the intermediate level are

denied this important learning device by its absence.

Such devices are available to the beginning student and

teacher, and television and the live concert afford the

advanced player the same opportunity. The same may be

said for visual recording of intermediate level pieces

themselves.
These recommendations, if adopted and subjected to

research and action, would assist intermediate teaching

by increasing teachers' access to and use of well devel-

oped materials based on sound principles.

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(May 1976): 60-62.
Smith, P. "String Solo and Study Materials," The Instru-
mentalist 34 (December 1979): 70.
Temianka, H. "Relaxation," Strad 91 (August 1980): 252.
West, M. "Remedial and Basic Violin Teaching," American
String Teacher 30 (1980): 35-38.
Whone, H. "Right and Left Technique," Strad 93 (December
1982): 565-567.

Books
Applebaum, Samuel. The Art and Science of String
Performance. Sherman Oaks, CA: Alfred Publishing
Company, Inc., 1986.
Applebaum, Samuel and Applebaum, Sada. With The Artists
New York: Thomas McCrady and Company, 1955.

Auer, Leopold. Violin Plaving as I Teach It. New York:

Frederick A. Stokes Co., 1921.
Boyden, David. The History of Violin Playing from the
Origins to 1761. London: Oxford University Press,
1965.
 234
Bronstein, Raphael. The Science of Violin Playing.
Neptune, NJ: Paganinia Publications Inc., 1977.
Cook, Clifford. String Teaching and Some Related Topics.
Urbana, IL: American String Teachers Association,
1957.

Flesch, Carl. The Art of Violin Playing. 2nd Revised

Edition. New York: Carl Fischer, Inc., 1939.

. Problems of Tone Production in Violin Playing.

New York: Carl Fischer, Inc., 1934.
Galamian, Ivan. Principles of Violin Playing and
Teaching. 2nd Edition. Englewood Cliffs, NJ:
Prentice Hall, Inc., 1985.
Gruenberg, Eugene. Violin Teaching and Violin Study.
New York: Carl Fischer, Inc., 1919.
Havas, Kato. A New Approach to Violin Playing. London
Bosworth and Company, Ltd., 1961.
The Violin and I. London: Bosworth and
Company, Ltd., 1968.
Hodgson, Percival. Motion Study and Violin Bowing.
Urbana, IL: American String Teachers Association,
1958.
Leland, Valborg. The Dounis Principles of Violin Playing.
Their Meaning and Application. London: The Strad,
1963.
Menuhin, Yehudi. Six Lessons with Yehudi Menuhin.
New York: W. W. Norton and Company, 1971.
, The Compleat Violinist. New York: Summit
Books, 1986.
Menuhin, Yehudi, and Primrose, William. Violin and Viola.
London: Macdonald and Jane's, 1976.
Neumann, Frederick. Violin Left Hand Technique. Urbana,
IL: American String Teachers Association, 1969.

Oddo, Vincent. Plaving and Teaching the Strings.

Belmont, CA: Wadsworth Publishing Company, 1979.
Polnauer, Frederick, and Morton, Marks. Senso-Motor Study
and its Application to Violin Playing. Urbana,
IL: American String Teachers Association, 1964.
 235
Rolland, Paul with Maria Mutschler. The Teaching of
Action in String Playing. Urbana, IL:
Illinois String Research Associates, 1974.

Szende, Otto and Nemessuri, Mihaly. The Physiology of

Violin Playing. Budapest: Akademiai Kiado, 1971.

Whone, Herbert. The Integrated Violinist. London:

Victor Gallancz Limited, 1971.

Yampolsky, I. M. The Principles of Violin Fingering.

London: Oxford University Press, 1967.

Young, Phyllis. Playing the String Game. Austin, TX:

University of Texas Press, 1978.

Dissertations and Theses

Ahn, Meija. A Compilation of Selected Intermediate-Level
Solo Piano Repertoire from the Classical Period
with an Analysis of the Inherent Performance Pro-
blems . Ph. D. dissertation, Pennsylvania State
University, 1981.

Dawley, Robert M. An Analysis of the Methodological

Orientation and the Music Literature Used in the
Suzuki Violin Approach. Ph. D. dissertation. Uni-
versity of Illinois, Urbana, 1979.
Gleam, Elfreda G. S. A Selected Graded List of Composi-
tions for Unaccompanied Violin, with Preparatory
Studies. Ph. D. dissertation. Ball State University,
1979.
Olin, Harvey M. An Analysis of Performance Techniques
Required in Selected Original Works by Fritz Kreis-
ler. Ph. D. dissertation, Louisiana State Univer-
sity, 1973.
Uscher, Nancy Joyce. Performance Problems in Selected
20th Century Music for Viola. Ph. D. dissertation.
New York University, 1980.

Encyclopedias

Apel, Willi. Harvard Dictionary of Music. 2nd Edition.

Cambridge: The Belknap Press of Harvard University
Press, 1969.
 236

Kallmann, Herbert; Potvin, Gilles; and Winter, Kenneth

(Editors). Encyclopedia of Music in Canada.
Toronto: University of Toronto Press, 1981.

Sadie, Stanley (Editor). The New Grove Dictionary of

Music and Musicians. 20 Volumes. London:
Macmillan Publishers Limited, 1980.

Interviews and Letters

Barrett, Joan. Mount Royal College, Calgary, AB.
Interview in Calgary, AB, 09 April 1984.

Chaplin, Francis. Brandon University, Brandon, MB

Interview, 28 January 1984.
. Brandon University, Brandon, MB.
Letter, 30 April, 1984.
Crighton, Arthur. University of Alberta, Edmonton, AB.
Interview in Edmonton, AB, 14 October 1983.
University of Alberta, Edmonton, AB.
Letter, 15 January 1984.
Main, Shirley. Western Board of Music, Edmonton, AB,
Interviews in Edmonton, 14 October 1983 and 28 March
1988.
Leyton-Brown, Howard. University of Regina, Regina, SK.
Interview in Medicine Hat, AB, 26 March 1984.

Shean, Ranald. Edmonton, AB. Interview at Mount Royal

College, Calgary, AB, 10 April 1984.
Shortt, Mary. Calgary, AB. Interview in Calgary,
11 April, 1984.
Wilson, Carlisle. Winnipeg, MB. Interview,
1 February 1984.
Winnipeg, MB. Letter, 5 May 1984.

Repertoire

Anonymous. "--^y^^- -T«n.es- Air. London: Oxford Univer-

sity Press, 1937.

Arne. Thomas. °-°^° ^" »" M«i°'-- •'°"<*°''^ °''*'°'"'* ""^"

versity Press, 1931.
 237
Bach, J. S. Giguetta. Edited by C. Seeley-Brown.
New York: Carl Fischer, Inc., 1917.

Bartok, Bela. Evening in the Vill^^^P. Budapest:

Edition Musica Budapest, 1967.

Beethoven, Ludwig van. Minuet in G. Edited by

W. Burmester. London: Associated Board of the
Royal School of Music, 1961.

Dont, Jakob. 24 Etudes and Caprices. Op. 35.

International Music Company, 1952.

24 Studies. Op. 37. New York: International

Music Company, 1955.

Dounis, D. C. The Artist's Technique of Violin Playing.

New York: C. Fischer, Incorporated, 1959.

Fiocco, J. H. La Legere. London: Schott and Company,

Limited, 1910.

Fiorillo, Federigo. 36 Etudes. New York: International

Music Company, 1956.

Flesch, Carl. Scale System. New York: Carl Fischer,

Inc., 1926.

Galamian, Ivan and Neumann, Frederick. Contemporary

Violin Technique. New York: Galaxy Music Corpor-
ation, 1966.

Gavinies, Pierre. 24 Studies. New York: International

Music Company, 1936.

Jaque, Rhene. Daussila. Toronto: BMI, 1964.

Kayser, H. E. 36 Studies. Op. 20. New York:

G. Schirmer, 1923.

Kinsey, Herbert. Elementary Progressive Studies.

3 Sets. London: Associated Board of Royal Schools
of Music, 1963.
Kreutzer, Rudolphe. 42 Studies. New York:
International Music Company, 1936.

Mazas, J. F. 75 Melodious and Progressive Studies.

Op. 36, Book 1. New York: International Music
Company, 1936.
 238
Rieding, Oscar. Rondo, Op. 22 No. 3. London: Bosworth
and Company, Ltd., 1905.

. Air Varie, Op. 23 No. 3. London: Bosworth

and Company, Ltd., 1907.

Rode, Pierre. 24 Etudes and Caprices. New York: Inter-

national Music Company, 1962.

Rovelli, Pietro. 12 Caprices. New York: G. Schirmer,

1939.

Seitz, Friedrich. Concerto No. 2. Op. 13. New York:

Carl Fischer, Inc., 1904.

Senaille, J. P. Allegro Spiritoso. Solos for the Violin

Player. New York: G. Schirmer, 1976.

Sevcik, Otakar. School of Technic. Op. 1. New York:

Carl Fischer, Inc., 1901.

. School of Technic, Op. 8. New York: Carl

Fischer, Inc., 1901.

Suzuki, Shinichi. Suzuki Violin School. Ten Volumes.

Princeton, NJ: Summy-Birchard Music, 1976.

Telemann, G. P. Suite in G, from Wedding Divertisement.

Arranged by W. Bergmann. London: Schott and Com-
pany, Limited, 1970.

Wohlfahrt, Franz. 60 Studies. Op. 45. New York:

G. Schirmer, 1925.

. 50 Studies, Op. 74. New York: G. Schirmer,

1939.

Syllabi

Prescribed Music. For School Years Beginning 1987 through

1990. The University Interscholastic League.
Austin, TX: The University of Texas, 1970.

String Syllabus. Revised 1986. New York: American

String Teachers Association, 1986.

Syllabus No. 2. 1983 Issue. Edmonton, AB: The Western

Board of Music, 1983.

Violin Syllabus. 1979 Issue. Toronto, ON: Royal

Conservatory of Music, 1979.
 APPENDIX A
WESTERN BOARD OF MUSIC
EXAMINATION ENTRY FORM

ThisSectioa
for Office Use Only
WESTERN BOARD OF MUSIC
Date arr.
APPLICATION FOR EXAMINATION
(a) Use SEPARATE FORMS FOR PRACTICAL and a.m. p.m.
THEORY subject*.
State which PRACTICAL (Piano, Singing, VJoUn, No.
etc.)
(b) In Associate grade, state whether examination is
Teacher's or Performer's. Central Offlce Mailing Address:
Western Board of Music
c/o University of Alberta
Edmonton, AlberU T6G 2E6

Deadhne for Winter Exams and Irregular Lists — NOVEMBER 25th.

Deadhne for Summer Exams and Irregular Lists — MARCH 10th.
LATE APPLICATIONS WILL NOT BE ACCEPTED

Candidate's Name
(Please Print)
Address

Postal Code
Phone No.

Date of Birth
Subject Grade

Local Centre Preferred

Teacher's Name
Teacher's Address and Ph. No.
_ Postal Code

THIS SECTION FOR OFFICE USE OffLY

Date of this
Application

FEE ENCLOSED

239
 APPENDIX B
WESTERN BOARD OF MUSIC
1987 ALBERTA AWARDS

The Western Botfrd of Music Is very grateful for the generosity of the
donors. The majority have kindly expressed their Intention of renewing their
awards yearly.

Scholarships and Bursaries can be gained in all instruments. Some are

reserved for particular districts but otherwise a candidate from any part of
Alberta is eligible. Apart from certain specified awards, the highest six grades
and especially the highest three will be given attention in relation to scholar-
ships for advanced study. Consideration will be given to the student's complete
Western Board examination record, e.g., a good student considered in any year
cannot necessarily expect an award but he or she may apply again after taking a
more advanced examination.

Applications (forms available upon request) for awards should be made by

May 15th and in any case before the practical examinations take place and without
waiting for an invitation to apply. Late applications (even at the invitation
of examiners) may suffer.

Medals are donated by the Western Board of Music. Prizes are of money,
books, records or in other suitable forms. They are given as rewards for good
work of specific kinds.

GENERAL CONDITIONS

Apart from special conditions attached to various awards, scholarships and

bursaries will generally be awarde'd on a combination of factors as follows:

(a) The advice of the examiners as to the greatest musical promise;

(b) Evidence of musical ability in more than one direction, including
theory;
(c) The intention and availability of the candidate to carry out a well-
balanced program of studies whether in the same locality or at an
institution of higher learning;
(d) Except where otherwise provided, the awards for candidates are for
those normally resident in Alberta. Scholarships and Bursary funds
are granted for the purpose of:
(I) continued study in the prairie provinces
(II) approved study in well-known centres elsewhere.

GOLD MEDAL - Interprovinclal

The Western Board of Music offers annually a Gold Medal to the candidate
who receives the highest standing (a mark of 85 or over is ^quired in
completing the final examination of the Licentiate in Music (L.Mus.). The mark
achieved in the practical examination will be given first consideration.

240
 241

SILVER MEDALS - Intcrprovincial

Piano, Violin, Voice - highest mark - 85 or over - medal per grade

(Grs. VII & up)

Winds and Percussion - highest mark - 85 or over - medal per grade

per instrument - (Grs. VII & up)

Other Instruments - highest mark - 85 or over - medal per grade

(Grs. VII & up)

BRONZE MEDALS - Provincial

Piano, Violin, Voice - highest mark - 85 or over - medal per grade

(Grs. I - VI)

Winds and Percussion - highest mark - 85 or over - Grs. I, III, V - one

medal per instrument - per grade

Other Instruments - highest mark - 85 or over - Grs. I, II, III - one medal
Grs. IV, V, VI - one medal

THEORY - SILVER MEDALS - Intcrprovincial

Grs. VI and VII - highest mark - 85,or over - medal per grade - per subject.

BRONZE MEDALS - Provincial

No medals given in Grs. I and II.

Grs. Ill, IV and V - highest mark - 85 or over - medal per grade - per subject

In the event of a tie, the deciding factor will be the standard of work
and the mark in the complementary subject, e.g., if a tie in the theory
grade, candidates will be judged upon their practical work and vice versa.

SCHOLARSHIPS

THE GOVERNMENT OF THE PROVINCE OF ALBERTA OFFERS THROUGH THE ALBERTA CULTURE
DEPARTMENT - $1,400.00.

The awards will be given to students having achieved the highest marks in
the following theoretical subjects:

Intermediate Aural Musicianship - $200

Senior Aural Musicianship - $200
Form I - $100
Form II - $200
Musical History I - $100
Musical History II - $200
Harmony I - $100
Harmony II - $200
Rudiments IV - $100
 242

SCHOLARSHIPS (cont'd)

THE GOVERNMENT OF THE PROVINCE OF ALBERTA OFFERS THROUGH THE ALBERTA CULTURE
DEPARTMENT - $1,200.00 ~

Six Music Scholarships of $200 each to students taking practical examin.nt ions
from the Western Board of Music. First consideration will be given to
students in advanced grades who show outstanding musical talent and who
would be assisted in taking a more extensive program of studies.

R. ANGUS ALBERTA LIMITED MUSIC SCHOLARSHIPS - $1,900.00

Three scholarships, one of $1,000, one of $500 and one of $A00 to be awarded
to outstanding Licentiate and Associate candidates in any of the provinces of
Western Canada.

R. ANGUS ALBERTA LIMITED MUSIC SCHOLARSHIPS - $500.00

Two scholarships of $100 each to be awarded to deserving students residing

in the Calgary area - or the Lethbridge area - or the Medicine Hat area.
Two additional scholarships of $100 each are to go to deserving students
residing in the Red Deer area and the Peace River area. One additional
scholarship of $100 will be granted anywhere in the province.

THE EILEEN HIGGIN MUSIC SCHOLARSHIPS AS PRESENTED BY THE CALGARY THEATRE SINGERS

These scholarships (derived from two-thirds of the funds generated from the
investment of the principle of $5,000), are for Calgary vocal students from
16 - 25 years of age who have been resident in Calgary - or an area within 100
kilometers of Calgary - for at least three years. First preference shall be
given to students in Grades VI, Vll and VIII, who have achieved a mark of 80
or over.

* THE DR. W.E. JANZEN MEMORIAL SCHOLARSHIP

The late Dr. Janzen, an alumnus of the University of Alberta, was a dentist
in Wetaskiwin for forty years. He played the trumpet and led various bands
including the U. of A.'s R.O.T.C. and Varsity Bands during the nineteen
twenties. His family have seem fit to give the Western Board of Music $1,000
in Dr. Janzen's name and the terms of the award are as follows:

A scholarship to be awarded to a promising Alberta student (Grs. V - XI)

taking a brass-instrument examination from the Western Board of Music. The
amount of the award will be determined by the accrued interest derived from the
principal sum.

THE EDMONTON ACTIVETTES MUSIC SCHOLARSHIP

A scholarship of $200 to be awarded to a student of musical promise (from

Edmonton or district) with preference to a Grade IX or Grade X candidate.
 243

THE EDMONTON ACTIVETTES MUSIC SCHOLARSHIP

An award of $200 to provide TWO scholarships - one VOCAL and one for STRINGS:

(i) A scholarship of $100 to be awarded to a student of singing (from

Edmonton or district) who shows real musical talent and who would
be assisted in taking a more extensive program of studies.

(ii) A scholarship of $100 to be awarded to a student of a stringed

instrument (from Edmonton or district) who shows talent and would
be assisted in taking a more extensive program of studies.

THE EDMONTON ACTIVETTES MUSIC SCHOLARSHIP

A scholarship of $100 to be awarded to a student of musical promise who

resides in Edmonton or district. This scholarship will be confined to the
grade levels VII - XII.

THE YAMAHA PIANOS COYNE LIMITED MUSIC SCHOLARSHIPS

Three scholarships totalling $A00 (one for $200; two for $100 each) to be
awarded annually to promising piano students in intermediate or senior grades -
residing in Edmonton or district.

THE LOUISE DEAN SCHOLARSHIP

A scholarship of $300 presented by Beta Sigma Phi (Calgary) for the candidate
who is awarded the highest mark in Grade X or XI piano, violin or singing in
Calgary, with a minimum mark of 80. Preference will be given to a Grade X
student. In case of a tie, the scholarship will be divided.

THE RICHARD S. EATON MEMORIAL SCHOLARSHIP

A scholarship of $300 divided equally between Alberta, Manitoba and

Saskatchewan, to be awarded annually to a talented student of not lower
than Grade IX level, with the appropriate theory.

ACCESS NETWORK CKUA-AM FM MUSIC SCHOLARSHIP

A scholarship of $100 to be awarded for outstanding musical talent and promise

in instrumental or vocal examinations. Preference will be given to a candidate
in the middle or higher grades and who resides in the Province of Alberta.
The recipient will very likely be invited to show his or her talents in a
special broadcast from ACCESS Network.

ACCESS NETWORK, TELEVISION

A scholarship of $100 to be awarded for outstanding musical talent and promise

in instrumental or vocal examinations. Preference will be given to a candidate
in the middle or higher grades and who resides in the Province of Alberta.
The recipient will very likely be invited to show his or her talents in a
special broadcast from ACCESS Network.
 244

EATON'S (EDMONTON) MUSIC SCHOLARSHIP

A scholarship of $200 to be awarded for the most musical promise in the higher
piano grades. Candidates for the L.Mus. (Alberta) and the A.Mus. (Alberta)
will naturally receive consideration but the quality of exceptional talent
m other advanced graces will be considered in order to assist the most
suitable student. Preference will be given to a student proceeding to or
attending an institution of higher learning where the student will include
musical studies.

THE EDMONTON JOURNAL VOCAL SCHOLARSHIP

A scholarship of $200 to be awarded to a promising student of vocal music, of

the age of 18 years or over, residing in the Province of Alberta, north of a
line drawn east and west immediately south of the city of Red Deer, to assist
such student to continue his of her studies in the city of Edmonton under the
supervision of the Department of Music of the University of Alberta. Should
there be no candidate of sufficient merit, in the opinion of the Board, then
the amount will be held over to increase the amount of any awards subsequently
made available by the donor.

THE RADIO STATION CHQT MUSIC SCHOLARSHIP

A scholarship of $200 to be awarded for outstanding musical talent and promise

in instrumental or vocal examinations. Preference will be given to a candidate
in Grade VII or higher and in Edmonton, or district. This scholarship may, at
the discretion of Western Board, be divided into two awards of $100 each.
The recipient(s) will very likely be invited to show his or her talents in a
special broadcast from CHQT.

THE SILK-0-LINA LIMITED MUSIC SCHOLARSHIPS

Four scholarships of $50.00 each to be awarded to students from Grades III

to VI residing in Calgary, Edmonton, Medicine Hat and Regina.

THE ANNA J. GREGSON MEMORIAL AWARDS IN MUSIC - $150.00

These awards are funded by The Duke of Cornwall Chapter of the I.O.D.E.
of Castor. They shall be given to Western Board examination candidates
%rtio are taught by Castor Music Teachers. Criteria for the awards shall
be the students with the highest marks ( and no less than 65Z) in each of
the following grades:

Piano

Grades I - IV - $5.00 each

Grades V - VI - $10.00 each
Grades VII - VIII - $15.00 each
Grade IX - $20.00

Theory

Grades I - IV - $15.00 each

In case of ties, awards shall be presented to each student, thus increasing

the total amount allotted for the awards.
 245

THE ALBERTA POWER LIMITED MUSIC SCHOLARSHIP

A scholarship of $100 for middle or advanced grades in music, to be awarded

with preference for a RURAL candidate, preferably one proceeding to or
attending an institution of higher learning.

THE BAY - WHITEHORSE, YUKON, MUSIC SCHOLARSHIP - $100.00

This scholarship is to be awarded to a promising student achieving a mark

of 75 or over - preferably in an intermediate or high grade. Should the
Board see fit, it may split the award. The Board may also choose not to
make an award should it decide that the insufficient number of candidates
in a centre does not warrant it.

THE CANADIAN WESTERN NATURAL GAS COMPANY MUSIC SCHOLARSHIP

A scholarship of $100 for middle or advanced grades in music, to be awarded

with preference for a candidate in Calgary or Lethbridge and districts,
preferably a student proceeding to or attending an institution of higher
learning.

THE FLORE SHAW MUSIC SCHOLARSHIP - North Side of Peace River

A scholarship of $100 to be awarded annually to a student resident on the

North side of the Peace River - and including Peace River town - who has
passed successfully the practical grade in Piano and at least Grade III in
Rudiments. The mark in the practical examination should not be lower than 75.
This scholarship applies to Grades VII, VIII, IX and X.

THE FORT EDMONTON I.O.D.E MUSIC SCHOLARSHIP

~ ~ <
A scholarship of $100 to be awarded to a promising wind or brass student
of Edmonton or district.

THE FRANK RICHARDSON MEMORIAL SCHOLARSHIP (Peace River)

A scholarship of $100 to be awarded to a promising piano student studying in

Peace River or district.

THE NORTHWESTERN UTILITIES MUSIC SCHOLARSHIP

A scholarship of $100 for middle or advanced grades in music - to be awarded

with preference for candidates in Edmonton or a point within 100 miles,
preferably a student proceeding to or attending The University of Alberta or
another institution of higher learning.

THE RADIO STATION CFRN SUNWAPTA BROADCASTING MUSIC SCHOLARSHIP

A scholarship of $100 to be awarded for outstanding musical talent and promise

in instrusKntal or vocal examinations. Preference will be given to a candidate
in Grade VII or higher and in Edmonton or district. The recipient will very
likely be invited to show his or her talents in a special broadcast from CFRN.
 246

THE RADIO STATION CJCA MUSTC SCHOIJVRSHIP

A scholarship of $100 to be awarded for outstanding musical talent and promise

in vocal or instrumental examinations. Preference will be given to a candidate
in Grade VII or higher and in Edmonton or district. The recipient will very
likely be invited to show his or her talents in a special broadcast from CJCA.

THE ALBERTA REGISTERED MUSIC TEACHERS' ASSOCIATION (EDMONTON) MUSIC SCII01J\RSH1P

A scholarship of $100 offered in memory of Dr. J. LeSaunier for the highest

mark in a Western Board practical examination in Grade IV piano or strings -
candidate to be a resident of Edmonton or district.

** THE DIADON ENTERPRISES MUSIC SCHOLARSHIP

A scholarship of $100 to be awarded to a promising Western Board of Music

Electronic Organ candidate who resides in Edmonton or district.

TRANSALTA UTILITIES CORPORATION MUSIC SCHOLARSHIP

A scholarship of $100 for middle or advanced grades in music, to be awarded

with preference for a candidate in RURAL Alberta, preferably one proceeding
to or attending an institution of higher learning.

THE WESTERN KEYBOARDS EDMONTON MUSIC SCHOLARSHIP

A scholarship of $100 to be awarded to a promising Edmonton or district

Western Board of Music Electronic Organ candidate taking either a Grade V
or a Grade VI examination.

THE WOODWARD STORES (EDMONTON) LIMITED MUSIC SCHOLARSHIP

. — t

A scholaeship of $100 to be used by the University of Alberta, as may be

determined by the Department of Music to assist some worthy student in the
Western Board of Music examinations OR in the Bachelor of Music program in
the Department of Music.

THE ALBERTA REGISTERED MUSIC TEACHERS' ASSOCIATION (CALGARY) MUSIC SCHOLARSHIP

A scholarship of $75 to be awarded for the highest mark in a Western Board

practical examination in Grade IV - candidate to be a resident of Calgary or
district.

CLASSIC KEYBOARD DISTRIBUTOR MUSIC AWARDS

(i) An annual award of $25 and a plaque to the student achieving the highest
mark in electronic or pipe organ, examined in Red Deer.

(ii) An annual award of $25 and a plaque to the student achieving the
highest mark in piano, examined in Red Deer.

THE HAFSO MUSIC CENTRE SCHOLARSHIP

A scholarship of $50 to be awarded to a promising Western Board of Music

Electronic Organ candidate %»ho resides in Edmonton or district.
 247

THE OLIVER MUSIC CO. LTD. SCHOLARSHIP

A scholarship of $50 to be awarded to a promising Western Board of Music

Electronic Organ candidate who resides in Edmonton or district.

THE MARGOT ESDALE-BARBARA MACDONALD TRUST FUND MUSIC SCHOLARSHIP

A scholarship of $25 to be awarded to a promising Western Board of Music

student who resides in any of the provinces of Western Canada. If the need
arises, preference will be given to a student of voice, but otherwise,
any outstanding examination candidate will be eligible.

THE GOVERNMENT OF THE PROVINCE OF ALBERTA OFFERS THROUGH THE ALBERTA CULTURE
DEPARTMENT - $1,200 "~ — —

TWELVE MUSIC BURSARIES of $100 each to students examined by the Western Board
of Music. First consideration will be given to promising students in advanced
grades vho would be assisted in taking a more extensive program of studies.

THE CALGARY HERALD MUSIC BURSARY

An award of $200 to be used for one or more candidates and - at the

Scholarship Committee's discretion -- for students' tuition fees, travelling
or living expenses.

THE LETHBRIDGE HERALD MUSIC BURSARY

An annual award of $150 to provide one or more bursaries at.the discretion of

the Western Board of Music. Available to students resident in centres on,
or south of a line drawn through Medicine Hat and Nanton.

THE I.O.D.E. ALPHAEUS PATTERSON (Grande Prairie) MUSIC BURSARY

A bursary of $100 to be awarded to a candidate of musical promise in Grade V,

VI or VII of the practical examinations. Preference will be given to those
working for Grade VIII as part of the Grade XII (High School) diploma.
Available to students of the Grande Prairie Inspectorate.

THE WETASKIWIN ELKS MUSIC BURSARY No. 1

A bursary of $50 to be awarded to a student achieving the highest mark in

Wetaskiwin or district. This bursary applies to Grade IX. Candidates must
be examined in Wetaskiwin.

THE WETASKIWIN ELKS MUSIC BURSARY No. 2

A bursary of $50 to be awarded to a student achieving the highest mark in

Wetaskiwin or district. This bursary applies to Grade VIII. Candidates
•ust be examined in Wetaskiwin.
 248

THE WETASKIWIN MUSICAL CLUB BURSARY No. 1

A bursary of $50 to be awarded to a student achieving the highest mark in

Wetaskiwin or district. This bursary applies to Grade VII. Candidates
must be examined in Wetaskiwin.

THE WETASKIWIN MUSICAL CLUB BURSARY No. 2

A bursary of $25 to be awarded to a student achieving the highest mark in

Wetaskiwin or district. This bursary applies to Grades V and VI. Candidates
must be examined in Wetaskiwin.

THE WETASKIWIN MUSICAL CLUB BURSARY No. 3

A bursary of $25 to be awarded to a student achieving the highest mark in

Wetaskiwin or district. This bursary applies to Grades III and IV.
Candidates must be examined in Wetaskiwin.

THE FLORE SHAW MUSIC BURSARY - North side of the Peace River

A bursary of $50 to be awarded annually to a student resident on the North

side of the Peace River and who has passed successfully both the practical
grade in piano and the corresponding theory grade, in the same year with a
mark not less than 75 in the practical examination and honours standing in
theory. This bursary applies to .Grades IV, V and VI.

THE LETHBRIDGE QUOTA CLUB PIANO BURSARY

A bursary of $50 in memory of Mrs. Annie Cull to be awarded to the student

showing the most musical promise in Piano, Grades I - V inclusive. This
award to be made to a student from Lethbridge or district taking examinations
at the Lethbridge centre.

THE NATIONAL COUNCIL OF JEWISH WOMEN (EDMONTON) MUSIC BURSARY

An award of $50 to be awarded to a Violin or Piano candidate (preferably

violin) for musical promise in Grades VI, VII or VIII. The candidates
considered first are those working towards the completion of Grade VIII as
part of the High School Grade XII program.

THE FAIRVIEW WOMEN'S INSTITUTE PIANO BURSARY

A bursary of $25 to be awarded annually to the student in the Fairview district

(i.e. postal districts, Fairview, Friedenstal, Gage, Vanrena, Whitelow) having
the highest mark over 75. This bursary applies to any grade in piano - theory
not required.

THE FLORENCE G. JOHNSTON MUSIC BURSARY

A bursary of $25 for a promising candidate from Peace River town. This award
is offered by the Peace River Women's Institute.
 249

g'of pfAN^O^cll^sf s S ^ r ^ ^ ^ ^ '' ""' ^"^^ '' ^^^^^^^'^ '^ ^ — - -

For full marks in the Ear-Test and high marks in Sight-Reading along with
general musical ability. The fact that the student is a piano class pupil
must be brought to the attention of the Western Board and should be mentioned
on the application form at the time of registering for the examination.

(i) One bursary in Grade I to cover an examination fee (within two

years ensuing) for one further piano grade.

(ii) One bursary in Grade II to cover an examination fee (within two

years ensuing) for one further piano grade.

WATERLOO MUSIC COMPANY LIMITED MUSIC PRIZES

Four prizes of $25 to be awarded to Alberta students in junior grades achieving

high marks.

** THE MEDICINE HAT NEWS MUSIC PRIZE

A prize of $100 to be awarded to a promising voice or piano student in Medicine

Hat or district.

THE CALGARY PHILHARMONIC SOCIETY PRIZE

Two season tickets to the Calgary Philharmonic Main Series concerts on Sunday
or Monday evenings to be awarded tq a promising student residing in Calgary
or district.

THE EDMONTON SYMPHONY SOCIETY PRIZE

Two season tickets to the Edmonton Symphony Orchestra concerts to be awarded

to a promising student residing in Edmonton or district.

THE LETHBRIDGE SYMPHONY ASSOCIATION PRIZE

Two season tickets to the Lethbridge Symphony Orchestra concerts to be awarded

to a promising student residing in Lethbridge or district.

THE I.O.D.E. WILLOWLODGE (BEAVERLODGE) MUSIC PRIZES

Prizes totalling $75 are offered to candidates attending school in Beaverlodgc

and who achieve a mark of 75 or more in the practical examination (Grades I to
VI) and 90 or more in theory. Prizes arc as follows:

Piano $15.00 for the highest mark of 78 or more in Grades VII and up
$10.00 for the highest mark in Grade VI
$10.00 for the highest mark in Grade V
$ 5.00 for the highest mark in Grade IV
$ 5^00 for the highest mark in Grade III
$ 5.00 for the highest mark in Grade II
$ 5.00 for the highest mark in Grade I
 250

Theory, V 5.00 for the highest mark in Grade IV

$ 5.00 for the highest mark in Grade III
$ 5.00 for the highest mark in Grade II
$ 5.00 for the highest mark in Grade I

J. H. YAMADA APPRAISALS LTD. MUSIC PRIZES

Prizes totalling $75.00 are offered to theoretical candidates of Whitehorse

or district, as follows:

Grs. I and II - highest mark, 702 or over - $25.00

Grs. Ill and IV - highest mark, 70Z or over - $25.00
Grs. V - VII - highest mark, 70Z or over - $25.00

BERWYN WOMEN'S INSTITUTE PRIZES

Two prizes to be awarded to students with a Berwyn postal address:

(i) A prize of $20 to a piano candidate in Grades I to IV, inclusive,

for the most artistic performance, providing a mark of 70 or more
is achieved;
«
(ii) A prize of $30 to a piano candidate in Grade V or up, for the most
artistic performance, providing a mark of 70 or more is achieved.

THE CANADIAN LEGION (Grimshaw Branch |253) LADIES AUXILIARY PRIZES

Two prizes open to students residing in Grimshaw or Grimshaw area, including

Warrensville, Clear Hills and Dixonville, providing a mark of 75 or more is
achieved:
(i) A prize of $20 to a piano student for the most artistic performance
in Grades I to IV inclusive;

(ii) A prize of $30 to a piano student for the most artistic performance
in Grades V and up.

THE ELKS OF McLENNAN THEORY PRIZES

Four prizes totalling $25 for students of the Western Board of Music examined
in McLennan. To be divided as follows:

(i) A prize of $10 to be awarded to a candidate receiving the highest

mark (75 or more) in theory - Grades IV or V;

(ii) Three prizes of $5 each to candidates receiving the highest mark

in theory (75 or more) - Grades I, II and III.

THE ROYAL CAHADIAN LEGION (HcLennan) MUSIC PRIZES

Two prizes of $10 each are offered to area students achieving a mark of 70
or more.
 251

GLENDON CHORAL GROUP PRIZE

^^^"!^ °^r^/** be awarded to a candidate of the Western Board of Music

attending Glcndon School who shows mu.sicnl promise.

GLENDON WOMEN 'S INSTITUTE PRIZE

A prize of $5 to be awarded to a candidate of the Western Board of Music

residing in Glendon or taking lessons in Glendon who shows musical promise.

PIANO DIPLOMA ASSOCIATION OF CALGARY BOOK PRIZE

Offered to candidates of the Western Board of Music taking the Associate

practical examination in Calgary under the following conditions:
(i) Prize is limited to candidates of Calgary or district;
(ii) Prize to be based on the following in order of priority:
(a) The highest mark in Grade XI Solo-Performer Teacher
combined examination;
(b) The highest mark in the Grade XI Solo-Performer examination;
(c) The highest mark in performing section of the Teacher's
examination.
(iii) Consideration to be given only to candidates who achieve 80 or more;
(iv) This prize applies to both February and June practical examinations.
(If there is no first-class honour mark in the piano diploma examination, the
prize will be awarded to the student receiving the highest first-class honour
mark in the next highest grade.) *

THE I.O.D.E. FORT OSTELL CHAPTER (PONOKA) BOOK PRIZE

A book award is offered to a piano student of the Western Board of Music

residing in Ponoka or district. This award to be given to the candidate
achieving the highest mark (75 or over) in Grade VII. In the case of a
tie, the award will go to the candidate with the higher mark in the
complementary theory.

* recent addition
** increased in value
 APPENDIX C

REQUIRED LEFT HAND SKILLS LISTED BY PIECE

Grade Four
Piece Skill
Rondo, Op. 22, No. 3 Finger Preparation

Upward Shift - same finger

Backward Shift - different finger

Chromatic Slide - semitone
Vibrato

Suite in G Finger Preparation

Double Stop Finger Preparation

Mordent

Chromatic Fingering

Upward Shift - same finger

- different finger
Backward Shift - different finger
- replacement
Vibrato

Brother James' Air Finger Preparation

Upward Shift - same finger
- different finger
- replacement
- from open string
- during a rest

Backward Shift - different finger

Vibrato

252
 253
Grade Five
Piece Skill

Daussila Finger Preparation

Upward Shift - same finger

- different finger
- from open string
Backward Shift - same finger
- different finger
Vibrato

Giguetta Finger Preparation

Double Stop Finger Preparation

Finger Facility
Vibrato

Air Varie. Op. 23 No. 3 Finger Preparation

Double Stop Finger Preparation
Upward Shift - different finger
- from open string

Backward Shift - same finger

Vibrato

Double Stops - Chords

Harmonics
 254
Grade Six
Piece Skill
Minuet in G Finger Preparation

Finger Facility-

Finger Accents

Dotted Eighth--Sixteenth Rhythm

Vibrato

La Legere Finger Preparation

Double Stop Finger Preparation

Mordent
Trill

Upward Shift - all types

Backward Shift - all types

Finger Facility

Vibrato

Concerto No. Two Finger Preparation

Upward Shift - all types
Backward Shift - all types
Trill

Double Stops
Finger Facility

Vibrato
 255
Grade Seven
Piece Skill
Allegro Spiritoso Finger Preparation
Finger Facility

Shifting - all types

Mordent
Trill

Double Stop

Vibrato

Sonata in Bb Major Finger Preparation

Trill

Mordent
Finger Facility
Shifting - all types
Vibrato

Evening in the Village Finger Preparation

Shifting - all types

Chords

Vibrato
 APPENDIX D

REQUIRED RIGHT HAND SKILLS LISTED BY PIECE

Grade Four

Piece Skill
Rondo, Op. 22, No. 3 Bow Distribution
Contact Point
Slurred Legato String Crossings

Accents
sfz on up-bow

Suite in G Bow Distribution -- rhythm

Contact Point

Martele
Slurred Legato String Crossings

Rr-othpr James' Air Bow Distribution

Contact Point
Slurred Legato String Crossings

Accents

256
 257
Grade Five
Piece Skill
Daussila Bow Distribution

Contact Point

Slurred Legato String Crossings

Accents - up-bow

Rhythmic Entry after Rests

Giguetta Bow Distribution - Rhythm

Contact Point

Accents

Slurred Legato String Crossings

Detache
Rhythmic Entry after Rests

Air Varie. Op. 23 No. 3 Bow Distribution

Contact Point

Chords - solid and broken

Accents

Harmonics
 258
Grade Six
Piece Skill
Minuet in G Bow Distribution

Contact Point

Accents

Flying Staccato

Slurred Legato String Crossings

La Legere Bow Distribution

Contact Point

Slurred Legato String Crossings

Portato

Concerto No. Two Bow Distribution

Contact Point

Chords

Spiccato

Martele

From slur to spiccato

Double Stops

Accents
 259
Grade Seven
Piece Skill
Allegro Spiritoso Martele

Spiccato

Chords

Bow Distribution

Contact Point

Sonata in Bb Major Slurred Legato String Crossings

Accents

Bow Distribution - rhythmic

- tonal
Contact Point

Evening in the Village Bow Distribution

Contact Point

Spiccato
,x'
From Spiccato to Detache
 APPENDIX E

REQUIRED INTERPRETIVE SKILLS

LISTED BY PIECE

Piece Skill
Suite in G Baroque style - bowing
Ornaments

Daussila Phrasing

Contemporary harmony

Giguetta Baroque phrasing

Minuet in G Rubato

La Legere Ornaments

Concerto No. Two Cadenza

Allegro Spiritoso Baroque style

Ornaments

Sonata in Bb Major Baroque style

Ornaments
Cadenza

Evening in the Village Rubato

20th Century Harmony

260

•iiiiiiHiiHi
 APPENDIX F

ETUDES CONTAINING PASSAGES

WITH REQUIRED SKILLS

Accents
Kayser, H. Elementary and Progressive Studies, Op. 20
Study No. 4
Study No. 12

Kinsey, H. Elementary Progressive Studies. Second Set

Study No. 1.

Mazas, F. Seventy-Five Melodious and Progressive

Studies. Op. 36
Study No. 20

Wohlfahrt, F. Fifty Easy Melodious Studies. Op. 74.

Study No. 34

Bow Distribution

Kayser, H. Elementary and Progressive Studies. Op. 20

Study No. 2
Study No. 5
Study No. 25

Kinsey, H. Elementary Progressive Studies. Second Set

Study No. 10
Study No. 11

Kinsey, H. Elementarv Progressive Studies. Third Set

Study No. 2
Study No. 8
Study No. 14
Study No. 15
261
 262
^^^^^^ F. Seventy-Five Melodious and Progressiva
Studies. Op. 36

Study No. 16

Wohlfahrt, F. Sixty Studies. Op. 45.

Study No. 42
Study No. 47
Study No. 49

Changing Contact Point

Kayser, H. Elementary and Progressive Studies. Op. 20.

Study No. 11

Wohlfahrt, F. Fifty Easy Melodious Studies. Op. 74.

Study No. 35

Double Stops

Kayser, H. Elementary and Progressive Studies, Op. 20

Study No. 20

Kinsey, H. Elementary Progressive Studies. Third Set.

Study No. 13

Mazas, F. Seventy-Five Melodious and Progressive

Studies, Op. 36.

Study No. 25
Study No. 27

Finger Accents

Wohlfahrt, F. Fifty Easy Melodious Studies, Op. 74.

Study No. 47
 263
Finger Facility
Dont, J. Twenty-Four StudiP5^, Op. 37.
Study No. 1
Study No. 5
Study No. 8
Study No. 11
Study No. 12

Fiorillo, F. Thirty-Six Studies.

Study No. 1

Kayser, H. Elementary and Progressive Studies. Op. 20

Study No. 16
Study No. 19
Study No. 22
Study No. 24
Study No. 25

Kinsey, H. Elementary Progressive Studies. Third Set.

Study No. 6
Study No. 12

Mazas, F. Seventy-Five Melodious and Progressive

Studies, Op. 36.

Study No. 5
Study No. 6
Study No. 19

Wohlfahrt, F. Fifty Easy Melodious Studies, Op. 74.

Study No. 39

Finger Preparation

Dont, J. Twenty-Four Studies, Op. 37.

Study No. 2
Study No. 3
Study No. 7
Study No. 13
 264
Study No. 14
Study No. 15
Study No. 16
Study No. 18

Fiorillo, F. Thirty-Six Studies.

Study No. 1
Study No. 5

Kayser, H. Elementary and Progressive Studies, Op. 20

Study No. 6
Study No. 7
Study No. 8
Study No. 10
Study No. 12
Study No. 16
Study No. 18
Study No. 24
Study No. 26
Study No. 29

Kinsey, H. Elementary Progressive Studies, Second Set.

Study No. 3
Study No. 6
Study No. 7
Study No. 17

Kinsey, H. Elementarv Progressive Studies, Third Set

Study No. 10

Mazas, F. Seventy-Five Melodious and Progressive

Studies, Op. 36.

Study No. 19
Study No. 21

Wohlfahrt, F. Sixty Studies, Op. 45

Study No. 39
Study No. 41
 265
Wohlfahrt, F. Fifty Easy Melodious Studies. Op. 74.
Study No. 27
Study No. 33
Study No. 34
Study No. 38
Study No. 40
Study No. 42

Flying Staccato
Wohlfahrt, F. Fifty Easy Melodious Studies. Op. 74.
Study No. 47

Legato Broken Chords

Kayser, H. Elementary and Progressive Studies, Op. 20.
Study No. 10

Martele

Dont, J. Twenty-Four Studies, Op. 37.

Study No. 12

Kayser, H. Elementary and Progressive Studies, Op. 20.

Study No. 24
Study No. 25
Study No. 26

Kinsey, H. Elementary Progressive Studies, Third Set.

Study No. 15

Ornaments

Dont, J. Twenty-Four Studies, Op. 37.

Study No. 11
Study No. 15
 266
Fiorillo, F. Thirty-Six Studies.
Study No. 2
Study No. 6
Study No. 7

Kinsey, H. Elementary Progressive Studies. Second Set.

Study No. 6
Study No. 9

Mazas, F. Seventy-Five Melodious and Progressive

Studies. Op. 36.
Study No. 13
Study No. 14
Study No. 15
Study No. 23
Study No. 24

Rubato
Mazas. F. Seventy-Five Melodious and Progressive
Studies, Op. 36

Study No. 12

Shifting

Dont, J. Twenty-Four Studies, Op. 37.

Study No. 3

Kayser, H. Elementary and Progressive Studies, Op. 20

Study No. 17
Study No. 27
Study No. 29
Study No. 31

Kinsey, H. Elementary Progressive Studies, Second Set

Study No. 22
Study No. 23
Study No. 24
 267

Kinsey, H. Elementary Progressive Studies, Third Set.

Study No. 2
Study No. 3
Study No. 4
Study No. 6
Study No. 21
Study No. 22
Study No. 23
Study No. 24

Mazas, F. Seventy-Five Melodious and Progressive

Studies, Op. 36.

Study No. 7
Study No. 19
Study No. 20

Wohlfahrt, F. Sixty Studies, Op. 45.

Study No. 47

Wohlfahrt, F. Fifty Easy Melodious Studies, Op. 74.

Study No. 30
Study No. 32
Study No. 33
Study No. 36
Study No. 37

Qinr-T-^H T.egato String Crossings

Dont, J. Twentv-Fonr Studies, Op. 37.

Study No. 3
Study No. 9

Fiorillo, J. Th^^-^Y-^^^ Studies.

Study No. 1
 268
^^'^^^'*' "• Elementary and Propressive StnHS.., Op. 20.
Study No. 6
Study No. 7
Study No. 8
Study No. 10

^^""^^y' H- Elementary Progressive Studies. Second Set.

Study No. 1
Study No. 2
Study No. 3
Study No. 17

Kinsey, H. Elementary Progressive Studies. Third Set.

Study No. 10

Mazas, F. Seventy-Five Melodious and Progressive

Studies. Op. 36.

Study No. 8
Study No. 20

Wohlfahrt, F. Sixty Studies. Op. 45.

Study No. 41
Study No. 50

Wohlfahrt, F. Fifty Easy Melodious Studies. Op. 74.

Study No. 27

Spiccato

Kayser, H. Elementary and Progressive Studies. Op. 20.

Study No. 19
Study No. 24
Study No. 25
Study No. 26
 269
Kinsey, H. Elementary Progressive Studies. Third Set.
Study No. 9
Study No. 14
Study No. 15

Mazas, F. Seventy-Five Melodious and Progressive

Studies. Op. 36
Study No. 16
Study No. 28
Study No. 29
 APPENDIX G

SELECTED PIECES

BROTHER JAMES' AIR

Arranged for Violin and Piano

Andante con moto

VloUn

Piano

i r r r

Prmfffd in Gr«»l Britain.

Copyright. 1937, by the Oxford Univemty Presi, London.
NOTE : BROTHER JAMES is .he f.m.li.r n.me by which m.ny remember the l.te J.me, 1^"^ M.cbe.h B..n .nJ .h.^A.r ,. perh.p, .he
most beautiful of m.ny th.t came to h.m spontaneously. Extra copies of the »K>hn part, for massed playing, may be obi.inea

OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, 44 CONDUIT STREET, LONDON, WIR ODE

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Oskar Rieding,0p.22. N93.
Allegretto moderato.
Violino.
Allegretto moderato.

Piano.
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Copyright MCMV by Bosworth * CP B. dt C9 6C:«:t. 14592
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SUITE in G
from Wedding Divertissement
Arranged by Wiiter Bergmann G PH. TELEMANN
V 1 RIGAUDON

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STUDENTS CONCERTO.
N? II.
(First Position.)
FR. SEITZ, Op. 18.
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SONATA IN Bl^ MAJOR

(No. 5 of The eight Sonatas or lessons for harpsichord)
Arranged for Violin or Cello and Piano by
HAROLD CRAXTON Dr THOMAS ARNE
CcUo part edited bj 1710-1778
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ESTE A SZEKELYEKNEL
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