Violin Etudes Pdf

[Amabella Batton]

July22, 2006 at 05:34 AM I just had a masterclass with Almita Vamos, and she told me that I need to work more on building technique. I figure that working on etudes would fix this problem. What are some recommended etudes?? Thanks

First of all you need to ask your teacher. Second it is not so much etudes as scales. But then it is not so much scales as how you practice them. So why don`t you let us know what scales you are doing, in what way, for how long and so forth so it would be easier to comment. (Keep in mind that such comments may be uttelry irrelevent to your needs.)

As far as etudes go , many people say that above all others the Kreutzer are the violinists bible andf that all of them shouldbe studied (Heifetz, Bron, Tziganov, Szigeti, Danks, Wieniawski). Some even go as far as studying them until death. This is not such a bad idea. Heifetz wa sa case in point. However, one comes back to the same earlier comment. Practicing Kreutzer etuide swithout knowing wh\y, or what you are doing, is as meaningless a s watching paint dry. Again, it is yourteacher who should be breaking them down and explaining them in depth, if he or she feels that they meet your needs at the current moment.

After the Rode there are the bifg Dont etudes. These are for the virtuouso violinst to enter the world of major concertos. Lots of violinists simply never get aorund to doing them. There are pracitcalities involved in what one can do with ones life!

July 22, 2006 at 08:39 AM Mr. and Mrs. Vamos really like Schradiek... in fact you have to do the whole book before they consider you a pupil (up to 160 to the quarter)... at least that's what Mr. Vamos says.

July 22, 2006 at 07:23 PM "Practicing Kreutzer etuide swithout knowing wh\y, or what you are doing, is as meaningless a s watching paint dry. Again, it is yourteacher who should be breaking them down and explaining them in depth, if he or she feels that they meet your needs at the current moment."

Gavinies are not so much on stretching as they are on blocking the hand and informing the hand as to what is going on around it in any position. (Basically knowing your fingerboard and the relationships between the fingers across the strings).

July 23, 2006 at 02:59 PM Well the etudes that I have worked on in the past are Shradiek(finished the first book), some Gavinies, some sevcik (op3,8,9). I have done Kreutzer etudes but don't do it on a normal basis since they're boring=). I'm doing Yasaye 3 now, but that's not really an etude... What are the point of Rode etudes? Just curious to know. I guess the reason Mrs. Vamos told me to work on technique was that I was nervous during her class and had a shaky bow. So I was curious how to stop this and she told me about improving on technical things in my right hand, but it could be a mental thing as well (was focusing too much on getting the notes exact in Mendelssohn conc). And yes she's an awesome teacher and player.

2) Control of tone and color for classical music- for example, a player who has invested a lot of time in the seemingly short slow introductions will have no trouble with te slow movements of clssicla string quartets.

4) Facility- Rode had a very deep understanding of the udnerlying mechanics of the violin and although the works don"t always seem so hard , if you do prepare most of them as piece sof msuci your echnique will iprove in fluidity in astonishing ways without you realizing it unsitl the end.

Yes, I have heard some great players say that. And there are many who get away with out doing them. But, I think the boredom has more do to with learnign them without having a clear aim or focused attention. I don"t think they are boring a all and the list of masters who advoctae playing them at all stage sof one career is rather long. There are some published variations on the etudes by player slike Szigeti and Yampolski that would stretch top player stechniques rather badly...

Personally I have use them all the time, and that includes the early ones. Whethe onn I have a dificult cocnert coming up I often work on the shifting one in e major, no15, and the one in octaves where you have to use slashing whole bows to get fro heel to p[oint even at a slow tempo. That might be a good one for you.

Seconds before the chairman of the jury announced my name and program at the 1994 American String Teachers Association national competition finals, he asked me what piece I would be playing in addition to the required Wieniawski Scherzo-Tarantella.

This was true. But whether I had never known the name of Joseph Joachim (only one of the most celebrated virtuosi of the 19th century and close collaborator of Brahms) or had simply blanked in the moment, that answer was unfortunate.

Minutes later, I suffered my first-ever memory slip. And do you know who was in the audience for my public humiliation? Noa Kageyama, fellow finalist and current Bulletproof Musician! I sometimes wonder if he witnessed my breakdown and decided then and there to dedicate his life to helping others avoid a similar fate.

The premise: only a small percentage of violinists are lucky enough to have been given a thorough training in the standard violin etudes, during those years when they are impressionable enough to work without understanding why. The rest enter college or conservatory with an unenviable choice: give up on professional performing, or try to make up for lost time by going through all the etudes at lightning speed.

After I ran my New York Philharmonic Audition Challenge back in 2015, the majority of the participants let me know much they loved the etude work. That was a surprise! In fact, I got question after question about what other etudes would help in audition preparation.

When I thought about it, I realized that someone else had already done my work for me. So I asked Mr. Shipps for his permission to share his article with you, which had been locked in the ASTA archives for more than twenty years.

And for those who want to get the most out of the Guide, remember its original audience: the readers of the ASTA Journal. These were teachers familiar with all the standard etudes and many of the standard orchestral excerpts. If you want to understand the Guide as they did, you must gather the source material. This means the etude books to which the Guide refers. Luckily, these are in the public domain and thus free to download:

Usually, they are focusing on a specific technique, so if the etude is for practicing double stops, for example, you will encounter several examples of double stops in all strings and various positions. While there are exceptions, especially for advanced levels, they are usually monotonous and rarely sound like an actual musical piece.

Etudes contain similar motifs as the classic repertoire and are composed as a preparation for it. Only studying repertoire will be more difficult. Practicing them is also a fantastic way to stay in shape or use them as a warm-up. They can really help if you want to improve a specific technique and they are a great supplement to your practice. Any violinist who takes the craft seriously should practice etudes.

This is one of the books everyone has played at least some etudes. They are very appropriate for a beginner and tackle a lot of techniques such as many types of bowing (dtach, marcato, staccato, etc.), trills, double stops, and more. Every different technique is introduced in a way that a beginner will understand and the difficulty level is progressing evenly so it feels easy going through it one by one.

Usually, I give this along with Kayser and pick the most suitable from both. Mazas is more melodic and some of the etudes are beautiful to listen to, which is usually rare on that level. They are very stylish and need a lot of finesse.

These are advanced studies that require mastering all violin techniques so far. For some, this is one of the most difficult books on the violin, but someone who has mastered them can have no fear of conventional violin techniques.

Question? When I was in school a friend of mine, then in graduate school, mentioned he was playing some difficult etudes, name unknown to me and now forgotten. In other words, he was very kind, but he was pointing out that he was playing etudes which were MUCH more difficult than I, a lowly undergraduate student, was playing...but he was Chinese and I never did catch the name quite.

Perhaps Heinrich Wilhelm Ernst (1814-65)'s 6 Polyphonic Etudes? The etude No.6 is the infamously difficult variations on "Last Rose of Summer." Elgar's etudes (op.24) is also quite difficult, but not quite as demanding as the Ernst.

Without a doubt, the most difficult etudes ever written. They are SO FAR beyond the Ernst, Paganini, Ysaye, etc. that it is ridiculous. It makes them look like Wohlfahrt etudes. The printed music itself looks like some kind of abstract artwork. The composer claimed that they were impossible to play. Then, of course, someone came along and recorded them.

Here's the answer I would give: Etudes (sometimes they are called caprices or other terms) are usually shorter works that are built around a single or a few technical difficulties, and are intended to be used primarily as study vehicles. The same patterns tend to be repeated over and over again. Paganini's Caprices to some degree fit this mould, but for me they're also interesting musical compositions in their own right. Some other compositions characterized as etudes are also outstanding musical compositions--for example, Chopin's, Liszt's and Rachmaninov's etudes for piano--but I don't feel that most etudes by Kreutzer and Rode, for example, are works that bear repeated listening for their musical interest--they tend to be too repetitive--even though part of their success as teaching vehicles is due to the fact that most of them are not devoid of musical interest. Ysaye's Sonatas are really full-fledged, multi-movement (in some cases) musical compositions intended for performance, not for pedagogical purposes. They don't repeat the same patterns over and over again (although of course, like all music, they are constructed out of motives and ideas that are repeated).

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