fifty easy melodious studies for the violin : op. 74 · 2012. 5. 18. · franzwohlfahrt,op.74....
TRANSCRIPT
HAROLD B.^SeRSITY
•"•
Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University
http://archive.org/details/fiftyeasymelodio74wohl
Vol , I
Franz WohlfahrtFIFTY EASY
MELODIOUS STUDIESFOR THE VIOLIN
Op. 74
Book I. Twenty-five Studies in
the First Position
EDITED BY
EUGENE GRUENBERG
BOSTON
OLIVER DITSON COMPANYNEW YORK
CHAS. H. DITSON & CO.CHICAGO
LYON & HEALYCOPYRIGHT, MCMIV, BY OLIVER DITSON COMPANY
J
HAROLD B. LEE lirdadv
PROVO, UTAH
EDITOR'S PREFACE
Franz Wohlfahrt, descendant of a well-known family of to students sufficiently advanced to commence the study
musical pedagogues of Thuringia, was born March 7,
1833, in Frauenpriesnitz. He died February 14, 1884, in
Gohlis, near Leipzig.
The first volume of this work, although not exceeding
in difficulty Opus 54 of the same composer, will, in this
present form, represent a decided step forward to the
student, inasmuch as several bowing variants of a higher
frade have been introduced.
The second volume, devoted to the treatment of the
third position, may be considered to be one of the best
books of its kind, and cannot be recommended too highly
of the higher positions.
Great care has been given to the selection of the most
important bowing variants, and it remains with the stu-
dent to benefit by them.
Boston, September, 1904. J
GENERAL HINTS
^ince the time of L. J. Massart,* it is accepted as an
unwritten law that all violin studies should be practiced
in different styles as to time and bowing, as well as with
dynamic and rhythmic variants, wherever applicable.
As it is hardly advisable to burden a beginner with a
multitude of variants, but few specimens of the sustained
stroke are exemplified, e.g.: —1. Detache at the point.
2. Two notes slurred in the upper bow.
3. Four notes slurred in the upper bow.
4. Eight notes slurred with the whole bow.
5. Two notes slurred and two detached, upper bow.
6. Six notes slurred (W B) and two detached (at
e'dier end).
It is a self-evident fact that the tempo must be very mod-
erate until the difficulties of an exercise have been abso-
lutely overcome. Not until then may a quicker tempo be
permitted.
Hard places, often occurring within a group of very few
(sometimes even of two) notes, should be repeated many
times before leaving them, and, if necessary, explained with
particular illustrations by the teacher. As to the dynamics,
it is understood that all the exercises should :>e played with
an evenly full tone; therefore, the marking of dynamical
gradations has been, as a rule, omitted. In a few of the
exercises (Nos. 8, 16, 18, 20, 22, 42, 47, 52, 56, and 57)
the dynamics and marks of expression have been carefully
indicated. These should be faithfully followed by advanced
students.
As soon as the pupil is able to control the fingers and
the bow well enough to produce a fairly even sostenuto
stroke, then he may begin with the hammered stroke; and
not too long after the artificial spiccato may be taken up.
It will be well, then, to take up again those exercises which
have been played so far only with the sustained stroke.
The characteristic features of the three fundamental
Lambert-Joseph Massart, the eminent violinist and teacher, was born in Liege,
July 19, 1811, and died in Paris, Feb. 13, 1892. Massart was a pupil of Kreutzer•nd among his famous pupils were Wieniawski, Marsick, and Sarasate.
kinds of bowing should be explained thoroughly, empha-
sizing the contrasting sound and manner of execution.
(1) The sustained stroke, including the detache and the
legato, is applied to single or to slurred notes of any
rhythmical length, and can be done with the whole bow or
any desirable fraction of the bow. This stroke requires an
uninterrupted pressure of the bow, resulting in a continuous
friction between hair and strings producing a sustained
or singing quality of tone.
(2) The hammered stroke, including the (solid) staccato,
is applicable to single notes of very short duration and is,
as a rule, done at the point, although possible with other
portions of the bow. About two or three inches may be
used, and the stroke must be done by an extremely rapid
and violent motion of the forearm.
This stroke requires an instantaneous pressing of the bow,
resulting in a momentary friction between hair and strings,
and producing an explosive, powerful, dry, and abrupt
tone quality, known as sjorzato.
The staccato is a succession of a number of hammered
notes (sforzato notes) united in one bowing stroke. Every
staccato note must be produced, as it were, with a mathe-
matical point of the hair. The bow, held with increased
firmness, the fingers executing a sort of squeezing upon
the stick, must be moved in an absolutely straight and
level line, as if in a groove. Begin at the very point and
use as little of the bow as possible. When playing the
staccato in the down stroke, the stick must be turned
around towards the player. To accomplish this, the hand,
wrist, and arm must be turned back in that same direction.
(3) The springing stroke (including the artificial and
the natural spiccato, as well as the ricochet and the French
staccato) is applied to notes of very short duration, either
single or connected by a slur, and is played within the
middle section of the bow.
This stroke is performed by means of percussion, the bow
hitting the strings and producing a short, elastic, and grace-
ful tone quality. In the artificial spiccato the bow is to be
neld firmly and raised before and after each note, the
entire arm participating more or less in the motion. In
the natural spiccato the bow is to be held, as lightly as pos-
sible, the hand alone bringing about the strokes by means
of a jerky motion from the wrist. The bow must not be
raised from the strings, as in the artificial spiccato, which
is played in a slower tempo. The ricochet is made by
dropping the bow on the strings as it is drawn across them.
It is used with either an up or down bow, which, striking
the strings, rebounds as many times as there are notes to
be connected by one stroke. The French staccato, being
slower in speed, is done with a firmly held bow, hitting the
string with a separate attack for each note. It is used best
in the upper bow, but within a longer passage the lower
section may be reached.
Variants of a rhythmical nature, while valuable, are
more advisable for the advanced student. Exceptions to
this are such easy changes as .where a note is simply re-
peated two, three, or four times, and should by all means
be practiced by the beginner, e. g.:—
Original. Variant.
HflFT i i r I 1 E
etc.
Other practical suggestions will be found in the body
of the work. E. G.
EXPLANATORY SIGNS
I—
I
Down stroke.
\/ Up stroke.
W B Whole bow.
U B Upper bow.
L B Lower bow.
M B Middle bow.
Pt. At the point.
Fr. At the frog.
Sustained detache.
— — ^- Short detache.
Hammered and also spiccato.
/""N Staccato, also ricochet and also French stac-
cato.
^_. J"^. Sustained staccato.
>, >. > Sforzato (abbreviated sfz.).
(let. Detached (detache).
sl. Slurred (legato).
sost. Sustained (sostenuto).
ha m in. Hammered (martele).
stacc. Staccato.
nat. spice. Natural spiccato.
art. spice. Artificial spiccato.
ric. Ricochet.
fr. stacc. French staccato.
sost. stacc. Sustained staccato.
Keep finger on the string.
Place a finger on two strings.S3
restez. Stay in the position.
rit. Retarding the time.
simile. In a similar manner.
Brackets, indicating notes to be omitted ad
libitum; in this example only the low
B would be played.
To Dr. Joseph Joachim
.
Fifty Easy Melodious Studies
Edited by EUGENE GRUENBERG
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