Winn, Edith Lynwood - How To Study Kreutzer PDF

HOW TO
STU D Y K REUTZER
A D E T A IL E D , D E S C R IP T IV E A N A L Y S IS OF
H OW TO PR AC TICE T H E S E S T U D IE S , B A SE D
UPON THE BEST T E A C H IN G S OF R EPR E
SE N T A T IV E , M O D ERN V IO L IN P L A Y IN G
BY
E D IT H L. W IN N .
NEW YORK
CARL FISCHER
1916
Copyright , 1910,
BY
CA RL F IS C H E R
International Copyright Secured

TO THE MEMORY OF
Jlultua iEtrfjherg,
THE SOUNDEST TEACHER OF KREUTZER
AND ONE OF THE MOST THOROUGH MUSICIANS
I HAVE EVER KNOWN.
PREFACE.
It is extremely difficult in our

bustling American life to prepare
students for the musical profes
sion, with the same high standards
as are maintained abroad. There
are so many short cuts, so much
veneering and perspective without
a firm background. What shall
we do? Our students go to Berlin,
Prague, Paris and Brussels, and
find themselves confronted with
r u d o i .p h e k r e u t z e r the discouraging problem of going
Born at Versailles, November over technical works . which they
16, 1766; died at Geneva, thought they had finished long ago.
January6,1831. We say to them frankly, “We could
not induce you to review Kreutzer many, many times in
America. Now you are learning what a true standard
means.” I cannot conceive of any more pitiful con
dition, or state of things, than discouragement and
failure abroad, and yet all life has its discipline and
consequent growth, if there is no retrogression in art.
Believe me, the study of Kreutzer’s Etudes is the true
beginning of solid musicianship. All that goes before is
merely preparatory work. Even the excellent Sevcik
Studies, wisely selected to suit the needs of American
students, furnish only a limited part of the mastery of a
violin technic. There are two kinds of technic: that
which belongs to the left hand, and that of the right
hand. Sevcik apparently stresses left-hand technic,
but the 4000 Bowings give one the most adequate and
complete set of bowing studies in existence, not except-
PREFACE.
jjjf I t is extremely difficult in our

’ bustling American life to prepare
students for the musical profes-
jj| sion, with the same high standards
as are maintained abroad. There
are so many short cuts, so much
veneering and perspective without
a firm background. What shall
■ we do? Our students go to Berlin,
Prague, Paris and Brussels, and
& find themselves confronted with
RUDOLF HE k r e u t z e r the discouraging problem of going
over technical works which they
thought they had finished long ago.
We say to them frankly, “We could
not induce you to review Kreutzer many, many times in
America. Now you are learning what a true standard
means.” I cannot conceive of any more pitiful con
dition, or state of things, than discouragement and
failure abroad, and yet all life has its discipline and
consequent growth, if there is no retrogression in art.
Believe me, the study of Kreutzer’s Etudes is the true
beginning of solid musicianship. All that goes before is
merely preparatory work. Even the excellent Sevcik
Studies, wisely selected to suit the needs of American
students, furnish only a limited part of the mastery of a
violin technic. There are two kinds of technic: that
which belongs to the left hand, and that of the right
hand. Sevcik apparently stresses left-hand technic,
but the 4000 Bowings give one the most adequate and
complete set of bowing studies in existence, not except-
v
vi PREFACE.
ing the Tartini Art of Bowingf which, profound and

artistic as it is, was but a model for future imitators.
The study of Kreutzer should naturally be preceded
by the study of the works of Hans Sitt, Dont, Mazas and
other writers who have thoroughly understood violin
progress from the standpoint of the painstaking and
careful teacher. These studies are, with the exception
of Mazas’ Etudes brillantes,12 not inspiring; nevertheless
they are practical, violinistic and thorough. With the
additional equipment of the Sevcik 4000 Bowings and
my Three Octave Scales with varied bowings, in the
fourth or fifth year of study, the earnest student is well
equipped for Kreutzer. He need not spend, after this
preparation, one year in the study of the first twelve
Etudes, with the bowings of Massart.3 It is probable
that his knowledge of bowings is very comprehensive
and that he has a free forearm and wrist. I say he,
though it is a lamentable fact that among the growing
number of violin students in America the boy is in the
minority. Almost every town and city of any size in
the New England, Middle and Middle Western States
has many girl violin students, but few boys carry on
their violin study after the fifteenth or sixteenth year.
Naturally the question comes, “Why do our young men
give up the study of the noblest instrument in the world,
before they have passed from the ranks of mere ama
teurs? ” They go to colleges and technical schools
when they are sixteen or seventeen years of age, and
1 J. Tartini, The Art of Bowing, 50 variations on a Gavotte by
Corelli. In a newly revised edition by Edith L. Winn. Piice 50 cents.
■------ Concert Edition of ten of these variations in a new and superb edi
tion by Ovide Musin. Published bv Carl Fischer. New York City.
2 F. Mazas, Op. 36 . Seventy-six Melodious and Progressive Studies.
Book I, Etudes speciales. Book II, Etudes brillantes. Book III,
Etudes d’artistes. Published in a newly revised, superb edition by Carl
Fischer, New York City. Price 50 cents each.
3 L. Massart, The Art of Studying R. Kreutzer's Etudes, 412 ex
amples compiled by the advice of the author. Revised and translated
by Gustav Saenger (English, French and German text). Published by
Carl Fischer, New York City. Price 60 cents.
PREFACE. vii
there is no time for further violin study. It is not a
paying investment, parents say, and one can prepare
for other professions and earn a much larger income
in a much shorter time. A musician does not belong
to the business world. The great object of violin
study is to abbreviate existing methods, suiting them
to the practical needs of our time. One must teach
principles and deal in constant repetitions. It is often
the case in long years of violin study that technic is
acquired unconsciously. The strength of the fingers
grows from day to day. The amount of skill possessed
by the player is seldom realized until he begins the study
of great concertos. This fact is apparent to every
teacher. It is absolutely necessary that the choice of
material be a wise one in the preparation of Kreutzer.1
The study of these etudes should not be mechanical and
perfunctory. Much good is accomplished by supple
menting them with the best etudes of Dont, Mazas, and
Sevcik. Bowing, or types of bowing, which are at first
conscious, become a matter of habit. The acquirement
of technic in the study of Kreutzer is of the utmost
importance in solo, quartet, and orchestral playing.
Now, to play Kreutzer well, with a mastery of bow
ings and fingers outlined by Kreutzer and Massart,2 one
must observe certain principles.
First, on all four strings there must be a uniform
technic in all positions. One should also have a com
mand of the trill and double stopping in the first four
positions, of fourth finger extensions, of cadenza play
ing, octaves and arpeggios. The hand should be per
fectly supple, the fingers relaxed and well-poised as
well as flexible.
Second, the bow arm should be firm and strong, at the
same time capable of light, flexible movements. The
three fundamental movements of the wrist should be
1 See my book on H ow to Prepare for Kreutzer. (Carl Fischer, New
York City.)
2 The A rt of Studying R. Kreutzer1s Etudes, by L. Massart. See
page vi.
viii PREFACE.
mastered. This necessitates the thorough study of

Dont, Sevcik, Mazas, and other works. There should
be no stiffness in string transfers. For that reason we
would urge a study of Sevcik’s 4000 Bowings, Part II,
Sections 3 and 4.
Third, a broad tone is to be desired. The command
of the vibrato and of tone graduation should be taught
in connection with the study of Mazas’ Etudes brillantes
and my Three Octave Scales.
In preparing this work, I am aware that the study of
the first twelve Kreutzer etudes must occupy one year,
under American conditions of study, whether one is to
be an amateur or a professional. The first twelve studies
are the basis of all fundamental bowings. The trill
dtudes are indispensable in connection with the study of
embellishments in the great concertos. As to how many
of the Massart bowings one should use — that must be
left to the discretion of the teacher and her musical stand
ard. Kreutzer is, undoubtedly, as necessary to the ama
teur as to the virtuoso.
I would recommend the Carl Fischer edition of Kreut
zer, as well as the revised Hermann edition.
The successful solution of the great problem of violin
playing lies in the hands of every teacher who has him
self laid the foundation of technical study in a finished
degree.1
EDITH LYNWOOD WYNN.
T rinity Court, Boston.
1 For further information regarding a general study of Kreutzer, con

sult Violin Talks, H ow to Prepare for Kreutzer, both by Edith Lynwood
Winn; also The Art of Studying R. Kreutzer's Etudes, by L. Massart.
How to Study Kreutzer,
ETUDE NUMBER i.
Adagio sostenuto.
i III a " ........................................................................
I DO not teach this etude until after the trill studies,

unless one has become somewhat acquainted with its
style through the study of Mazas’ Etudes brillantes.1
We must bear in mind that the four strings of the
violin represent four planes of bowing. The bow lies
easily upon the string, or leans toward the next string to
be used. In two-string transfers it is necessary that
there be as little movement from this plane as possible.
That is to say, in the study of arpeggios we should first
practice the fundamental chords or double stops. The
arm always follows the wrist in string transfers, the bow
remaining on the outer edge of the hair. No work is so
valuable in this connection as Halir’s Tonleiterstudien.2
1 See footnote, page vi.
2 N ew Scale Studies for the Violin, by Carl Halir. Published by Carl
Fischer, New York City.
2 HOW TO STUDY KREUTZER.
The arm, wrist, and fingers must maintain a perfect

outward curve, the muscles having all the freedom
possible.
The following rules may be observed.
1. In string transfers, raise the arm from the shoulder
at a change of string, the wrist leading, so that the
whole arm shall be in the plane of the strings played
upon.
2. In short string transfers, the wrist has an undu
lating stroke, while the plane of the arm is practically
undisturbed.
3. The wrist alone moves in very short string transfers.
4. The fourth finger should be used in both upward
and downward scale passages.
This etude is sometimes used in preparation for
Number 23 — the Cadenza study. Its purpose is to
give a command of the legato and tone graduation. One
must have studied slow scales in all positions and keys,
those of Halir being preferred to Schradieck. Granting
that this etude is valuable for the virtuoso, in practical
violin study in schools and colleges, the fundamental
bowings should always precede it.
It is generally supposed that the portamento is best
acquired through the study of the violin. I believe
that I have learned more from voice study in this con
nection.
In this etude, as in those which are only technical,
finger pressure must exceed bow pressure. A great
technic depends upon the facility of the left hand rather
than the right hand. Quality rather than quantity of
tone is the basis of artistic playing. Economize the bow,
striving to maintain a good tone from the middle to the
point of the bow. Above all, sing tone and play the
crescendo and diminuendo four times in one bow, using
the three octave scales.
For examples of a similar style, use Numbers 31,
35, 38, and 40, Etudes brillantes, F. Mazas,1 Op. 36,
Book II.
HOW TO STUDY KREUTZER. 3
ETUDE NUMBER 2.
Allegro moderato.
This etude is the most important of the first twelve

in connection with tone study, bowing, and technic. I
would use the following bowings of Massart1in the order
indicated.
1 U .H . 2 L.H.
7 L.H. 8 Tip.
See footnote, page vi.

1 1 Tip. 1 2 Tip.
1 3 Tip.
2 2 W.B.
2 3 Upper third. 2 4 Upper third.
86 Tip.
>
2 7 Tip.
30 Stacc. Tip.
• • ^ • • • • • • A •
P f —
f-- a—F—f-—
—f—
i---
31 Stacc. Tip.
3 7 Stacc. To be practised with both up- and down-bow.
Spicc. M.
N ote: — Other forms of bowings may be introduced at the discretion
of the teacher.
No finger should leave the string until necessary.

Practice the exercise with single bowings until the into
nation is perfect. Keep the fingers arched over the
strings and ready for use. The thumb moves with the
hand. Each new position should be sought at once
without unnecessary sliding into place. The mastery
of left-hand technic always precedes varied bowings.
Supplement with the Sevcik Studies.
From the large number of bowings used by different
writers, it would seem that this exercise is an excellent
medium in the acquiring of bow technic. Nevertheless,
it is a mastery of principles that we seek, and if one can
do this with twenty-five examples instead of fifty, so
much the better. The number of bowings given by
Massart is out of proportion to the value of the etude and
the time of the player. Every wise teacher should,
therefore, select only those bowings which lead to the
mastery of principles of the greatest importance. When
good habits are confirmed, and one can play the entire
exercise without mistakes in bowing, bow technic has
undoubtedly become automatic.
Experience has shown that intonation is of prime
importance, varieties of bowings being secondary.
Play slowly and surely, watching both left hand and
right hand; sing tone, and transfer smoothly from
position to position. Memorize the exercise and practice
it in its entirety with the varied bowings.
Good habits will last through life. To guide teachers
who have themselves not studied Kreutzer thoroughly
requires an analysis of bowings.
The Whole Bow. — Play the exercise entirely through
without the vibrato, using a slow, broad, even tone.
Now press lightly upon the bow-stick, relax almost
instantly and draw the bow swiftly to the point in an
imaginary plane, with as little tone as possible. Repeat
this stroke from the point. This is the principle of the
martele bowing. Speed is not important. Freedom
and relaxation of the entire arm must be first considered.
Observe the beginning and end of each stroke. See that
there is no diminution in the amount of tone produced
when playing a pure legato. When playing martele,
draw the bow so quickly over the string that freedom
comes entirely without continuous pressure. Define
a whistling tone, a tone that sings, and a tone of even
pressure. Quality comes first and volume will follow.
Cross the strings with a somewhat high arm, keeping the
fingers on the strings as long as possible. There must
not be any break in string transfers.
Now, a few words with regard to quality of tone.
Play on the edge of the hair. Do not press on the stick
unduly and make the upper arm serve the forearm and
wrist, except in chord playing and the slurred staccato
in the middle and lower half of the bow. I believe that
the command of a beautiful legato depends upon the
strength of fingers, the command of positions and
freedom of the left hand, rather than upon bowing.
Slurred bowings are absolutely indispensable in orches
tral, quartet, and solo work. If speed is to be obtained,
carry the martele principle into the grand detache of the
French school. Play each note with the full bow at
the greatest speed possible to maintain bow position.

Produce clean-cut bowing. Attack so well that full
vibration begins with each stroke in a short biting sound.
Allow the string to vibrate after the starting of the
stroke. Rigid attention to forming a habit of playing
parallel with the bridge must be observed.
It is often observed that the bow hops or leaps from
the string. This is an invariable indication of a stiff
wrist or an exaggerated form of bowing. Generally
the wrist is too high at the point and heel. When play
ing at the point, I would advocate little or no depression
of the wrist. The tension of the bow should not be dis
regarded. The French school followers use a tightly
strung bow in order that a quick, clean start can be
made. It is my opinion that freedom can be much
more easily obtained with an elastic, loosely strung bow.
Practice will make the arm light, obedient, and supple.
Forearm Bowing. — The forearm bowing is the founda
tion stroke of all freedom in rapid passage work. One
must pass rapidly from the point to the middle, although
speed is of less consideration than purity and volume of
tone. See that there is no diminution in the amount of
tone produced and no change of tone in string transfers.
Do not bear down with the right hand and arm, nor
twist the bow. First use a bold and vigorous stroke;
next the principle of the martele; next slurred bowings,
staccato, and bowings requiring syncopation. The
elbow must relax, the wrist at the same time being
slightly curved. Do not, as a rule, raise the wrist higher
than the knuckles. Preserve a perfect curve of wrist,
knuckles, and fingers. Depress the second joints of the
second and third fingers. Do not lean upon the stick
with the second joint of the first finger. Keep the
knuckles parallel with the bow stick, in the main. Rest
the forefinger on the top or side of the stick in a curve.
Bend the thumb towards the hair. Always keep the
fourth finger upon the stick, if possible, except in spiccato
bowing at the middle of the bow. Do not use the wrist
stroke when mastering the forearm stroke. Follow out
the same principles with the lower half of the bow, using,
of necessity, the free stroke from the shoulder. Do not
press upon the bow at the heel. Give more attention to
the legato than the staccato.
Hand Bowing. — First practice these bowings in the
middle of the bow. Move the wrist laterally, the fingers
relaxing at the second joints. Practice the wrist stroke
very loosely, using about an inch and a half of hair, at
the middle, point, and heel of the bow. The legato is
preferable to the staccato. A singing tone is pre
ferred to a loud tone. When the wrist is loose, strive to
widen the stroke, the forearm being quiet and the whole
arm being employed only in string transfers. This
stroke is the bane of all students who have begun violin
study late. An absolutely free wrist can be obtained
easily only in childhood. In the mastery of the wrist
stroke consult Hand-Culture, Rhythm and Notation.1
Practice the lateral motion of the wrist on the table;
also the figure eight stroke with the wrist moving on its
axis in a curve, as is necessitated in the Casorti School
of Bowing.2 The axis of the wrist must always be par
allel to the bow stick, if one would be free. In string
transfers the purely lateral motion is modified, the
hand describing an outward and downward curve in
addition to the lateral stroke.
The best bowings to be used in string transfers are
the first six bowings of Massart, omitting the sautilU
and grand detache.
Spiccato bowings, both natural and artificial, will be
discussed later.
One must not underestimate the value of pure hand
bowing. In orchestral work one observes many rapid
passages in which lightness and ease are not possible
except with hand bowing.
When the student has mastered all the complicated
1 Hand-Culture, Rhythm and Notation, by Edith L. Winn. Pub
lished by Carl Fischer, New York City.
2 Technic of the Bow, by A. Casorti, Op. 50 . Published by Carl
Fischer, New York City. Price 75 cents.
IO HOW TO STUDY KREUTZER.
hand bowings of Massart, and the Tartini Art of Bowing,

he is well on the road to virtuosity.
Other Forms of Bowing. — The saltato and spiccato,
with the French school, bear the name of sautille. The
spiccato is a hand stroke at or near the middle of the
bow and, usually, the most rapid bowing. The saltato
combines the hand and arm. I usually designate the
first as the natural spiccato and the second as the
artificial spiccato. The second Kreutzer etude, as well
as the eighth, in the Singer edition, make this bowing
one of considerable ease. The artificial spiccato, while
in some respects a thrown stroke, is not one which ne
cessitates a blow upon the string, nor is it dry and cut
ting in tone. It must not be confused with such a
thrown stroke as is found in the Pobnaise of Vieux-
temps. All spiccato bowing requires great lateral
freedom of the wrist. The artificial spiccato requires
freedom from the shoulder. Both are important orches
tral bowings. Double the notes for the spiccato and
play with tightened hair, leaning the stick toward the
bridge slightly. As to the exact place on the bow in
which the spiccato should be played, it is impossible to
state, as technic always governs speed. A great tech
nician, like Fritz Kreisler, would play Sauret’s Elfentanz
above the middle of the bow.
Modifications of these strokes are often made in
standard works. For instance, in the following passage
from the Scene de Ballet, by de Beriot, the martele, as a
Pill animato
stroke, is not usually considered to be a practical bow

ing for one who is acquiring freedom, as the right hand
is out of position, the first finger leaning heavily upon
the stick. It is, however, one of the most important
bowings in connection with the cultivation of an attack.
HOW TO STUDY KREUTZER. II
It is most frequently practiced at the point and is a hand
movement, not one of the arm. A wide lateral stroke
is desired. Press heavily upon the bow stick and relax
immediately, making as little tone as possible. Do not
play an entire exercise through with this bowing. After
a number of weeks of rest during the summer, all vio
linists find this bowing invaluable for the cultivation of
a clean-cut tone. If the martele is mastered, the fore
arm and slurred staccato are very easily played.
I have said that Massart goes into detail. I would
not, however, use any bowings which he has suggested
which are merely modifications of a fundamental bow
ing. Perhaps the suggestions I may offer as to a choice
among his bowings will be beneficial. You will observe
that rapidity is not of vital importance in the study
of the first twelve Kreutzers. Bowing and intonation
must first be considered. Play the entire etude through
with each bowing. Pay special attention to string
transfers and position work. It is evidently the inten
tion of Kross and Singer to enhance the difficulties of
the work by writing passages in the positions. This
gives more freedom in string transfers, and I leave it to
the option of the teacher as to whether their suggestions
should be followed.
ETUDE NUMBER 3.
A llegro moderate.
This 6 tude may be played with the same bowings as

the preceding one, but I do not advise it. I would
even go so far as to say that a simple forearm bowing
with the rejection of the Massart bowings is sufficient.
This excludes, then, suggested bowings of the Hermann
edition. Perfect freedom of the forearm requires instant
relaxation of elbow and wrist, the two working har

moniously. The prime object of this 6tude is, I believe,
a command of position changes and intonation. A few
rules must be observed.
Do not remove the fingers entirely from the strings.
Move upward or downward with the finger last used.
Do not slide into position.
The thumb should always be in advance of the first
finger. The thumb and hand move together. I would
place the thumb close to the body of the violin and shift
quickly from third to fifth position. After the third
position the thumb lies flat under the neck. Rest the
first finger only on the tip. Place all fingers in position
immediately.
Do not use the vibrato when mastering the exercise
tonally. The last three lines require a perfect command
of position work. The thumb should be free and there
should be little or no pressure at the base of the first
finger. Keep the elbow well under the violin, even when
playing on the E string. Make the arch of the fingers
pronounced in the higher positions. Do not anticipate
a change to a lower position by dipping the hand so that
the fingers are no longer vertical on the strings.
A forearm stroke, using both staccato and legato in
single detached bowings, is all that I should require.
ETUDE NUMBER 4.
HOW TO STUDY KREUTZER.
The prime object of this etude is the study of the

staccato, at or near the point of the bow. It is some
times necessary to use a broader stroke. Let us analyze
the bowing.
The first note, C, should be played with about a half
bow, forearm stroke. The four sixteenth notes should
occupy as little space as possible at or near the point of
the bow. A short, sharp, crisp staccato can only be
obtained with freedom of the wrist, quick pressure, and
instantaneous relaxation.
After practicing the martele stroke in connection with
the second etude, the principle of the staccato is much
more easily mastered. The half note following the four
sixteenths should be played with an accent, but should
not pass below the middle of the bow. This implies that
the entire dtude should be played in some part of the
bow between the middle and the point.
Avoid a jerky stroke in the first note of the measure.
The dtude is not played rapidly. The first measure is
at moderate tempo. The technical difficulties are not
great. I would not use the bowings of Massart. A
clean staccato requires pressure upon the outer edge of
the hair and a perfect command of accent.
If a child cannot master this bowing with a full-length
bow, use a bow of shorter length. I use a seven-eighths
bow, as I have not been able to play a beautiful staccato
run with a full-length bow on account of having a very
short arm.
One point I have neglected to mention; that is,
that the fingers of the left hand must fall with freedom,
firmness, and elasticity. Technic of the left hand always
precedes the technic of the bow, therefore master the
content of the etude, in every case, before the study of
varied bowings.
Throughout the etude strive to give the long accented
note at the end of each slurred passage plenty of time
and bow. Also the first note of each measure should
be given full value. Be very careful not to give it more
bow space than necessary.
ETUDE NUMBER 5.
Allegro moderato.
Place the fingers on the strings and play this dtude

mentally before using the bow. I would discard the
bowings of the Peters edition and Massart. Also, do
not raise the fingers from the strings until absolutely
necessary.
In connection with the study of Kreutzer I would
advocate a constant review of three-octave scales with
varied bowings; in this case, practice the Eb major scale.
The arm should follow the plane of the strings in string
transfers.
This dtude lies so easily upon the strings that it is a
remarkably good one for a rapid tempo, and I would
suggest that the student practice the forearm bowing
and detached strokes four or five times each day for a
period of several weeks.
While a great variety of bow strokes might be advo
cated, I would use only one bowing, that of the forearm.
The flying staccato in the lower half of the bow might
possibly be used. The martele is possible, but I would
not advise its use.
The fundamental bowings are best studied with the
use of the second and eighth etudes. If the fourth
finger lacks power, apply the principles of Halir’s finger
^exercises.
HOW TO STUDY KREUTZER. IS
ETUDE NUMBER 6.
Moderate* e sempre mariellato.
simile.
lle E m egg ={M=

•
/ U .H .
The Peters edition of Kreutzer suggests that the

dtude be played with the martele stroke at the point.
Kross suggests that it be played at the frog or with the
entire bow length passed quickly over the string. All
the notes must be strong and clear and of equal dura
tion, there being a pause after each note, at which time
there is no pressure. It is also recommended to study
this etude slowly, with equal pressure upon the down
and up bow. The general character of the bowing
must not be changed on the E string. As the average
student of Kreutzer is mastering the content of this
etude, I would suggest that the first bowing be a fore
arm one, detached. Keep the bow well over the two
strings in anticipation of the string transfers.
In the last three lines, be very careful of intonation.
Do not press too heavily upon the bow-stick in the
higher positions. Practice each group of two measures
separately until the progressions are mastered. In the
last line, take the fourth position with ease, and the fifth
also, the thumb being well under the neck of the violin,
and all the fingers taking their positions at once.
I would not memorize this etude unless it seems diffi
cult of mastery. All students, however, who intend to
teach, should memorize the first twelve of the Kreutzer
Etudes.
i6 HOW TO STUDY KREUTZER.
ETUDE NUMBER 7.
A llegro assai.
—z ±$s------ *---------•r rI---------P--------

r • -------r — d
r r
J H
n * 1--
Mf \ Tl\ J
—
1 r P m
- • 1— 1— 1— r H t i l l 9 - 0-
This dtude requires great dexterity of the wrist. I

would review similar studies of Dont and Mazas; also the
Sevcik Studies and Schradieck’s Octave Studies.1 The
value of this etude for precision of finger control is very
great. Keep the fingers on the strings as long as pos
sible, stretch them over the fingerboard with a relaxed
wrist, the thumb being very free.
In the fourth-finger extensions in measures 35, 36, 37
and 38, do not throw the wrist out from the neck of the
violin. Curve all the fingers if possible.
As a martele study, this one is very valuable. Play at
the point. Do not draw widely to right and left, but
place the bow cleanly on the string before starting. Do
not repeat a note. If the edge of the hair is used, the
stroke must be even, the shoulder, forearm, and wrist
being free. If the forearm only is used, the stroke must
be on the edge and middle of the hair alternately. I
do not advise the latter stroke.
The higher the rate of speed, the shorter the stroke
becomes. As a means of cultivation of a good orches
tral bowing, practice this etude with a rapid stroke of
the forearm, striving to keep as near the edge of the hair
as possible. Also practice the grand detache, and two
notes slurred and two cut, from middle to point, the
upper arm describing a curve outward from the body and
following the plane of each string.
1 Technical Violin School, by Henry Schradieck. Part II, Exercises
for Double Stopping. Published by Carl Fischer, New York City.
Price 40 cents.
ETUDE NUMBER 8.
A llegro non troppo.
/ Massart, in his excellent bowings of the Kreutzer

Etudes, recommends as the first bowing the grand
detache, then the martele, and later the saltato. I should
not use these bowings with young students until they
had acquired a free forearm and wrist. The artificial
spiccato at the middle of the bow, requiring a move
ment from the shoulder with the whole arm, is danger
ous to the student who has no freedom of the forearm.
The teacher must use discretion in the choice of bowings.
Etude No. 8 has its difficulties, these being the key of
E major, finger extensions, and intonation. The tempo
should always be moderate until the musical content
is mastered. The hand should lie perfectly free, the fin
gers being well arched over the strings.
This etude, with No. 2, should be studied in detail.
I would use the Massart bowings in the following order:
HOW T O ST U D Y KREUTZER. 19
Tip.
U .H . .^• u.J , .J .
-+-*
33 34
Sp. Stacc. L .H . Flying Stacc.
Flying Stacc. Tip. Stacc.

Tip.
De la fiointe I'archet.
f
Note: — The martele and grand detache should not be taught until
the forearm and wrist are supple.
I would also teach this etude with varied bowings

during the entire year.
When playing a running legato at the point of the
bow, one may use a rapid tempo. In string transfers
at the middle and point, the wrist should lead, the arm
following the plane of each string.
For the study of the spiccato and different forms of
the staccato, this etude is of great value. The following
forms are suggested for the study of the flying staccato.
The bow arm should be so well trained through this
excellent etude that very few bowings are necessary
during the study of the next four etudes. If it is neces
sary to study string transfers in detail, supplement this
work with Sevcik’s 4000 Bowings,Book III, Sections 5 and
6. The teacher must bear in mind that the development
of the forearm precedes that of the wrist, while the train
ing of the entire arm is brought about through a study of
transfers on three and four strings. Throughout the
study of this etude one must be very careful of intona
tion, and the position work must be mastered. Play
the etude in its entirety with each bowing, if possible.
If it seems that too much time is spent upon this etude,
one must remember that it eliminates further study of
bowings, if mastered.
Professor Joachim always recommended the 6 tnde as
the finest example of varied bowings inexistence, and the
twelfth etude as very useful for the study of arpeggios.
One thing we must insist upon, and that is freedom,
independence, and uniform power of finger action in the
left hand.
ETUDE NUMBER 9.
1
Allegro moderato.
"—
This etude is an example of the study of the legato,

nevertheless its value as a position study is great. It is
also difficult as regards intonation, making the second
and fourth positions of very special importance. It is,
in fact, an intonation as well as a position study of the
greatest value. I have frequently obliged students to
memorize each section, in order that they may give atten
tion to intervals. I would analyze the etude, pointing
out relative musical values.
Sometimes a student may play a portion of the 6tude
mentally, that is to say, without the use of the bow.
This, however, is not practical with the average student.
Perfect relaxation of the left hand and flexibility and
firmness of finger action are desirable. The hand does
not always lie well over the strings, therefore I should
use only one form of bowing — the pure legato. As an
aid to perfect equality in finger action, play the first
two or three pages of Carl Halir’s Tonleiterstudien.1
This etude is not preparatory to the trill studies. We
must not fail to insist upon economy of the bow and
uniform tone throughout each passage of slurred notes.
I frequently change the tempo to suit the progress of
the student. I also study it in sections. Those students
who are preparing for the profession should memorize
the first twelve Kreutzer etudes. It is of the utmost
importance that the fingers and bow should be in sym
pathy. Clean technic is desirable and the fingers
should not be raised from the strings until necessary.
1 See footnote, page 1.
They should take their positions at once in string trans
fers and new positions, the finger last used always
leading.
ETUDE NUMBER 10.
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The first bowing used should be a forearm one, each
note being slightly detached from the next. Make the
wide string transfers on the outer edge of the hair, the
stroke being from the shoulder, the arm moving towards
the plane of the new string. While the wrist generally
leads in string transfers, the curve of the arm should not
be disturbed. The teacher should observe whether the
bow remains parallel with the bridge, in the main. The
sixteenth notes should be played with a forearm stroke
rather than a lateral wrist stroke, as this gives more
breadth of style.
Memorize each group of arpeggios. In the second
line, take the fifth position instantly, the thumb lying
well under the neck of the violin, the fingers being
bunched, as it were, slightly toward the left in order to
give the proper arch, and to enable the student to play
with firmness and precision. Any position or form of
bowing which causes the student to play on all portions
of the hair of the bow is detrimental to freedom and
decidedly awkward. I should never reach for a high
note with the fourth finger and then draw the rest of the
hand into place. The entire hand should move instantly

into a new position, the first finger usually moving first
into place from some lower position.
Professor Halir believes that one should be able to
play scales taking the highest note first, quite as well
as in the usual way. He also recommends the practice
of arpeggios and double stops. This command of the
positions must certainly be useful in the study of Kreutzer
and Fiorillo.
There are many students who insist upon the use of
the vibrato. This interferes with the surety of intona
tion. I cannot urge too strongly the necessity of keep
ing the elbow well under the violin. While it is true
that there are four planes in the mastery of string
transfers, it is always wise to keep the elbow in. The
first finger need not, in fact should not, rest against the
neck of the violin at its base, while on the E string. v.It
is a wise plan to study the individuality of hands. NoW,
I will say right here that one who has a short hand, or
a thick non-flexible hand, may release the first finger
when playing with the third and fourth fingers, in the
third, fourth, and fifth positions. Frequently men who
have large hands do not keep all the fingers on the string
during scale passages in the higher positions. It is
safe to say that no student should place his hand in the
higher positions without being able to command at
least two strings without the additional motion of the
elbow. All unnecessary movements are detrimental to
a fluent technic.
After playing this etude with the forearm bowing, I
would use the following forms, the flying staccato in the
lower half of the bow being very valuable:
A
If students are sufficiently musical, and aiming to be
professionals, the musical content of this dtude should
be thoroughly understood, and they should write the
fundamental chords upon which these arpeggios are
based.
ETUDE NUMBER n .
Andante.
4 4 4 ^
^ 3 % 3 ^
f - P » m *— P P • • m Hi
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I have found the eleventh etude one of the most
valuable in violin literature. For the study of the
legato and change of positions it is without an equal.
It may seem unfortunate that it is written in the key of
E major, but I believe this enhances its value. The
legato should never be disturbed by the shifting from
string to string, for the relative positions of the fingers
should at once be considered. I sometimes oblige
students to practice this etude mentally without the use
of the bow, in order that the shifting fingers may be
closely watched. The thumb should be absolutely
free from the neck of the violin, all the weight being taken
by the chin. The thumb and hand move together.
Do not crowd the fingers together; avoid unnecessary

motions. To obviate the faults of shifting, employ this
method.
The whole 6 tnde should be played somewhat lightly,
with uniform tone. Do not cramp the tone in the
fourth and fifth positions. Remember that the higher
we play on the strings, the shorter the distance be
comes from the point of resonance. Too much pressure
causes a rasping quality of tone. When playing very
light bowings at the point of the bow, it is always
advisable to play over the fingerboard. This is true,
also, of light string transfers. The fingers must fall
with uniform force, precision, and strength. A singing
tone should always accompany a perfect legato. The
student should anticipate string transfers by raising
the arm toward the plane of the new string. As a
valuable aid to the command of the legato, practice
the exercises of Halir.
One more point, that is, that the 6 tude should be
played very slowly.
ETUDE NUMBER
Allegro moderato.
There is a story current among students in Berlin to

the effect that Professor Halir, while on a summer trip
with the great Joachim, rather belittled the daily prac
tice of certain Kreutzer etudes, among others the twelfth.
“What better thing could I practice than this splendid
example of positions?” said the great Joachim. “ Noth
ing so fixes the fundamental bowings and positions as
do the Kreutzer etudes,” and the great man went on
with his practice.
I would first begin the study of this £tude by mem
orizing every two measures with the arrangement of

bowings as indicated in the Singer edition. The
arpeggios should be mastered musically, every group
being perfectly in tune. I would use a forearm, detached
bowing. Do not, however, press heavily upon the
strings nor allow the bow to vary in its relative positions
from the bridge. The teacher should inspire the student
to take the positions without fear and carefully watch
the movement of the thumb. The fingers must remain
upon the strings in each new position, the first and
fourth being ready for immediate changes. If the
fingers begin to crowd after leaving the fifth position,
release them from their places and let them lie curved
above the notes to be played. Practice slowly with
firm, even fingering. A uniform tempo must be main
tained throughout.
All high tones should sing and should be of proper
length, especially when they are half notes. Cultivate
boldness and confidence in the student. The elbow
must be well under the violin, and in passing from a high
note on the E string let the entire arm lead to the Ci
st ring.
For those students who are intending to be profes
sionals, I would advocate that each group of arpeggios
be memorized and played mentally, the left hand mak
ing the string changes, the bow resting a little above
the middle and passing from string to string, without
playing. The student may then watch his string
transfers.
Throughout the entire year this etude should be played
frequently, only one form of bowing being used, and that
the forearm stroke.
ETUDE NUMBER 13.
Moderate*.
This etude is not included in the original Forty Studies.

If the student has not played the Sevcik 4000 Bowings,
Books 3-6, and the Halir Studies, ,1 would advise that
these should precede the study of Etude 13.
One thing is of great importance — the analysis of
the musical content of the etude. After having played
two or three lines in the form of double stops or chords,
using the lower half of the bow, down bow, and also the
artificial spiccato at the middle of the bow, alternating
bowings, I would call attention to the first 6 tvi.de, Opus
32, of Hans Sitt, using the methods of bowing indicated
in my recent work Twenty-four Selected Studies}
These are invaluable in the mastery of detail. I
sometimes omit this etude altogether, if the student has
mastered two string transfers.
Although the first twelve Kreutzer etudes are usually
played in their order, the wise teacher will use his own
judgment in the order of trill etudes and double stops.
I would also advocate a frequent return to the studies of
Mazas and Dont. It has been my custom to teach
position work more frequently from the Alard studies
than from those of Hans Sitt. I would, however, very
highly recommend the Double-stop Studies, by Hans Sitt,1 2
Opus 92.
Etude 13 should first be played in the upper third of
the bow, two notes being slurred and four cut. The
movement is not unlike the figure eight stroke as recom
mended by Casorti, although I find the Sevcik studies
more useful than Casorti. Do not tilt the bow from side
to side. Strive to play, as nearly as possible, on the
edge of the hair. The movement is a wrist stroke in
volving both the lateral and circular motions. I would
also play the etude in the middle of the bow, using more
1 Twenty-four Selected Studies, by Edith L. Winn. Specially selected
for the study of String Transfers. Published by Carl Fischer, New
York.
2 Hans Sitt, Technical Studies, Op. 92. Part I, Book 3, Double
Stopping. Thirds, Sixths, Octaves. Published by Carl Fischer, New
York. Price $1.00.
space. In short string transfers we do not usually use

the entire arm. In this case the arm movement is
necessary because four strings are involved. The
fingers should always seek their positions before the
bow is ready for a transfer. On the other hand, we
should read ahead at least one measure and anticipate
finger changes. As we desire absolute freedom of the
wrist, the short crisp staccato should be avoided, unless
we wish to review the etude at the very point of the bow.
Hold the fingers down when not in use. In extensions
do not throw the wrist out. The fourth finger should
always be arched, and the first finger must not sink
below the crease at the base so as to go under the neck
of the violin to the left. Be very careful to select strings
that are thoroughly tested and well gauged. Play one
passage over and over until it lies easily under the hand.
If any varied bowings are used, I would slur eight notes
and then sixteen notes. Also play, occasionally, the
artificial spiccato in the middle of the bow.
ETUDE NUMBER 14.

Moderate,
E
m
as
In the Singer and Hermann editions the fourteenth

dtude precedes the trill etudes. You will find that it
is numbered thirteen’ in the old Peters edition. In
the Kross edition it is No. 12. It is evidently the aim
of the Kross edition to make position work of prime
importance; in fact, to increase the difficulty of the exer
cise through the use of the positions.
While this is very excellent for advanced players, and
I can see the object of it in more beautiful string trans
fers, I would not use the Kross edition exclusively, if
the student’s attention should be naturally turned to

bowing and intonation.
If the teacher considers it wise to omit this etude until
after the trill etudes have been studied, he may do so.
It is a wonderful exercise for the study of the legato,
for string transfers and intonation.
The student should always sense progressions mentally
and take new positions with perfect ease, never, if
possible, allowing the fingers to leave the strings entirely;
that is to say, all string changes should be anticipated.
Incidentally, this etude is a remarkable one for the
development of the bow. The tenth and eleventh
measures should be played with slurred bowings, all the
sixteenth notes being slurred except the last two.
Further on, observe the same rule; that is to say, use
long instead of short slurs. Perfect equality of tone
should be maintained throughout. Short slurs are
played nearer the point of the bow. Keep the elbow
well under the violin in taking the higher notes suddenly.
The entire etude should be played very slowly and there
should be no undue pressure on the bow-stick. K&ep
the bow well over the two strings so that the string
transfers may be very legato. In the ninth measure,
several extensions occur. Think the tone instantly, the
fourth finger describing an arch or curve, the wrist being
relaxed inward. Depress the first finger at the base,
in order to give more freedom to the muscles. The
fourth finger must never seek its position, drawing the
hand after it. The entire hand must move at once into
place, the finger last used taking the shift.
One great fault of students is the habit of throwing the
wrist outward in taking extensions. One of the most
advanced students of Sevcik, who has a very small hand
and an exceptional technic, swings the hand very freely
away from the neck of the violin, advancing the thumb
first into the new position, the violin being held by the
chin alone, the thumb and forefinger being perfectly
free. In all extensions, one or more fingers remain upon
the string.
ETUDE NUMBER 15.
Allegro non troppo. I
tr tr tr tr tr tr - tr - tr m
We are now beginning the trill etudes. While there

are many examples of trills given in Kross and Massart
and other editions, I prefer two trill strokes, beginning
with the lower tone, as follows:
We should play at or near the point of the bow, the

third finger being very supple for the trill. I use only
one form of trill, because the original object of the etude
is met by the systematic, slow practice of one form of
trill. The staccato note should be clean cut, near the
point of the bow, the wrist and forearm should be per
fectly free, and the fingers should spring back for an
attack. To cultivate strength and endurance requires
much patience. Do not draw the finger which is used
for the trill too far back from the plane of the knuckles.
Two trills are sufficient.
This method of practice may be observed throughout
the entire trill studies. A good trill can rarely be
acquired without long and arduous practice.
In order to make the trill more brilliant, accent the
first note of the up bow and immediately release the
pressure upon the stick. If you have studied the Sevcik
Studies for the Left Hand (Book I on Technic), it is prob

able that the fingers will fall with uniform strength, and
that all notes will be of the proper length. It is wise in
acquiring a clean technic to play each note that is not
a trill with the use of the staccato. For example of
pieces in which the principle of the trill is used study
The Bee by Schubert, The Eighth Concerto, third move
ment, by Rode, and other works of this grade.
One reason for accenting the trill is that it becomes
more brilliant, especially in the orchestra.
Practice several measures very slowly at first, in order
that time may not be disturbed by the use of the trill.
In the fifth line keep the fingers well over the keyboard,
and strive for perfect intonation. Be very particular
to discriminate between half steps and whole steps.
The turn must not occupy too much time. When the
exercise has been mastered at the point of the bow, use
the upper third. I would spend considerable time
on No. 15 in order that the principle of the trill may be
mastered before the more difficult studies are under
taken.
When in the fourth position, keep the fingers on the
strings ready for use, the first finger remaining in place.
This 6tude is, fortunately, in an easy key and devoid

of difficult intervals. I would use the second form of
trill (Singer’s edition), there being seven notes with the
turn, the trill beginning with the lower note. In other
7 7
words, we play two trills and a turn. The turn is made
with a wrist stroke and is not a sharp staccato, as that
would cramp the wrist.
Play slowly, using the upper third of the bow. The
fourth finger requires special strengthening. Practice
over and over the measures in which we use the fourth-
finger trill in the third position. Fingers and hand
should be perfectly relaxed, the thumb following the
hand in the higher positions with absolute freedom.
We do not use varied forms of bowing nor complicated
position work. Intonation should be carefully watched,
as a student invariably uses a whole step instead of a
half step, or vice versa, in the trill.
The sixth line is especially difficult of intonation.
Practice the measures separately. The fingers should
not leave their positions till absolutely necessary.
Note in the seventh line this passage in the fifth position:
Such a passage requires special practice, the fingers

lying well over the strings. The thumb must be abso
lutely free in order that quick changes may be made.
You will observe that the fingering in the Kross edition
is somewhat more complicated than in the Singer edi
tion. Undoubtedly the aim of the writer was to make
string transfers with greater elegance. When bowing is
not complicated, this etude is very valuable.
While we do not take the trill etudes in order, it is a
wise plan to take those first which embody some im
portant principle.
ETUDE NUMBER 17.
Maestoso.
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Note the similarity between this etude and the last

one. The stroke is in the upper third of the bow. You
will observe that the old Peters edition writes out the
trill. The movement is marked maestoso. The new
Hermann and Singer editions suggest a martele stroke
at the point of the bow, the trill not being written out.
The etude is numbered 19 in the Kross edition, and
several forms of the trill are used. Throughout all the
trill studies, I would avoid beginning the trill with the
upper tone. If two trill strokes are used, there is some
uniformity in the method of playing the etude. While a
martele stroke may be very useful, it is somewhat danger
ous to freedom in the wrist. I would use a staccato
stroke in the upper third of the bow instead. It is a
prevailing habit among students to shorten the note or
notes following the trill. This destroys the rhythm.
Notes constituting the turn or following the trill
should be played entirely with the wrist stroke, as in
dicated.
When first studying an etude, use simple bowings.
The martele may do for advanced students, but it is not
wise to use it in the first study of an etude. Be very
careful that the eighth notes have their proper value.
The trills should be fluent and brilliant throughout.
In playing octaves or other intervals, make the string
transfers by a movement from the shoulder, and keep
on the edge of the hair of the bow, all awkward move
ments across the strings to be avoided. The fingers
should anticipate the changes from position to position.
The rule holds good that in making a string change from
the E to D or A to G string the entire arm moves, the
wrist being curved toward the violin. If tone is to be
secured, however, the wrist should never be higher than
the knuckles. In a string transfer from G to A or D to
E string, the wrist leads, the arm following in a natural
curve. Keep the arm well out from the body. The
absurd practice of playing with a book under the arm
makes beautiful string transfers impossible.
Note the last four lines of the etude, the passage
beginning in the second position. Be very careful of
intonation. The fingers should not leave their positions
till necessary. The double stops must be taken quickly,
the fingers falling naturally into place. This .is only
possible when intervals are mastered mentally. Here,
as in every difficult passage, we must read ahead and
sense our tonal progressions.
ETUDE NUMBER 18.

Moderato. *tr V Y r 3 tr
/
I would say here that I usually take Etudes 19 and
20, and occasionally Number 21, before Etude 18, my
reason being that the short trills should first be mastered.
By this time the fingers have gained great endurance.
The trills on the G string, however, are very difficult.
Observe that the accenting of a trill gives it more
brilliancy and not less freedom. The position changes in
the second measure should be made by sliding the first
finger along the string to the new position. In the fifth
measure be very careful to accent the trill and maintain
it throughout its entire length. Play all trill exercises
slowly until the technic is clean.
A good trill is not mastered in a day. That is mainly
the reason why I would supplement the Kreutzer trill
dtudes with other works; for instance, the Etudes bril-
lantes1 of Mazas, preferring the Adagio movements,
or possibly the Duos of Viotti.2 In this etude it is of
great importance that there be strong accent and fine
contrast between the staccato and legato bowing. I
2 Duos Concertants, by J. B. Viotti, Op. 20 and Op. 29. Published by
Carl Fischer, New York. Price 50 cents each.
would, under no condition, begin the double-stop studies

during the progress of the trill studies. The wise
teacher may, however, begin the Halir double-stop
exercises, as well as other studies for the development
of the left hand, by this great artist and teacher. At
any rate, there must be some relief in the trill studies.
Occasionally I would introduce some valuable etude
by Dont, and always use the Sevcik 4000 Bowings for
drill work.
Speed is not a matter of importance in trill etudes.
While playing elaborate etudes of this kind review
Numbers 9, 14, and 15.
Note in the ninth and tenth lines the difficulties of
intonation. Do not press upon the bow-stick. When
ever a grace note above the trill is used, do not fail to
give it clearness and precision. The fingers must, as
usual, lie well over the strings.
It is not possible to outline in what part of the bow
this etude should be played, as the nature and lengtfi of
passages require varied bowings. I would call the
dtude elaborate and artistic. It may be referred to
when one is studying the Rode Eighth Concerto.
ETUDE NUMBER 19.

n 17 17
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This etude, although apparently easy as far as uni

formity of trills is concerned, is quite difficult when one
considers quick changes into the positions.
The third finger, as you will observe, is very frequently
used in the trill and it should be very flexible from the
start.
The number of the dtude in the Kross edition is
22, and it should precede No. 20.
I would use the following form, accenting the first
note of the trill in every case:
Varied ffirms of the trill should not be studied, and

throughout the whole of the trill etudes it is best to play
the lower note first. Three trills and a turn is not a
desirable form.
For clearness, uniformity and precision, two trills are
quite sufficient for the amateur.
Use the whole bow usually throughout the etude.
Whenever there is a trill on the half note, keep up the
trill throughout and maintain an even pressure upon the
bow-stick. As is true of other trill etudes, any effort at
an increased tempo destroys the rhythmical value of the
dtude as well as technical proficiency, inasmuch as the
great object of the etude is to develop a good trill with
the third and fourth fingers. There must not be any
unevenness in position work, or too much haste.
This excellent etude is never neglected by teachers of
standing. Through it, in fact, one may develop great
strength and freedom. I do not advocate any bowing
except the one indicated, at first. If one has mastered
Numbers 9 and 11, there will be no trouble in position
work. In fact, that will become so easy that one may
give full attention to the trills. As an intonation study,
this etude is not specially valuable; but in the tenth
and eleventh lines one must be particularly careful of
intervals.
Note the two forms of fingering in the following
measure, the upper being preferred:1
1 In the Singer edition the grace notes are omitted.

ETUDE NUMBER 20.
This £tude, in the Hermann edition, is marked

allegro. I would play the etude moderato instead, pay
ing special attention to the accuracy and evenness of
trills.
The Kross and Singer editions begin with the up bow.
I prefer this older form, beginning with the up bow
and taking the first fourteen notes with the same
bow. Accent the trills and remove the pressure upon
the bow-stick as soon as the trill is concluded, to insure
a free, flowing movement.
The new Hermann edition begins with a down bow.
If the student finds the rhythm difficult and has diffi
culty with intonation, play the etude at first without the
trill, for it is very valuable as a study of string transfers
and arpeggios. Massart uses varied bowings. As fre
quently stated, I would do away with all forms of bow
ing when mastering the trill. In the higher positions
be very careful to make the wide string transfers with
an arm movement. The first and fourth fingers must
always anticipate a change of position, the first finger
remaining in place in order to facilitate position work.
If one finds that the fingers are too close together in the
higher positions, release the second and third fingers
after having played. Keep the elbow well under the
violin and anticipate position work by making the
thumb perfectly free. I would often advise the mem
orizing of difficult runs. One passage should be played
over and over until correct. This is an intonation study
of the highest order.
ETUDE NUMBER 21.

Moderato e sempre marcato.
In the original Kreutzer edition this etude is No. 20,

17 in the Kross edition, and 21 in the Hermann and
Singer editions.
While very valuable as a study of short trills, the fact
that it is played with detached staccato bowings gives
it no value in the development of a pure cantabile, as
found in the preceding etude. The third and fourth
fingers receive special training in position work and trills.
Some teachers omit this etude altogether.
There is very little to be said of the etude, except
that two trills without the turn, beginning with the
lower note, are preferred. Be very careful to maintain
the rhythm in measures in which half notes occur.
Also do not confuse the half step with the whole step in
trills. The short staccato at the point of the bow or a
broader staccato with the upper third is more desirable.
Maintain the same pressure upon the bow-stick with the
up bow as with the down bow.
ETUDE NUMBER 22.
Moderato
0
T
tr tr tr tr
i
S iL j:
Jr-#- pi
/ /' /* /2
This dtude is only valuable as a supplementary trill
study. The rhythm is more easily mastered than in the
first two or three trill etudes. If the upper half of the
bow is used, one must be especially careful of intona
tion and accentuation of the first note in every group of
four. Practice the up-bow accents, which are usually
inclined to be faulty. Relax the pressure upon the bow-
stick as soon as possible after the trill note. I would not
use new forms of bowing, as the etude is only valuable
from a technical standpoint. I would now review all
trill 6tudes, in connection with a study of the porta
mento and of tone graduation as found in the slow
movements of such concertos as the Rode Eighth and
Seventh and the Viotti Twenty-third and Twenty-eighth.
Perhaps it would also be a wise plan to take some of
the slow movements in the Viotti and Spohr1Duos.
ETUDE NUMBER 23.

n 'A d a g io . 2 ^
1 7, v ' _t 0 ^! 10~fr ?0f L
f n
1 1
PPTV t"7 #ffr 3 11I 1r " 1 1
1 1
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I usually omit this etude, preferring to use cadenzas

as found in modern Concertos. It might be wise, how
ever, to explain to the pupil the cadenza form. I would
refer to the beautiful cadenzas of Joachim and other
great artists.
1 L. Spohr, Three Duos, Op. 3. Published by Carl Fischer, New
York. Price 75 cents.
ETUDE NUMBER 24.

Allegro.
-A m • m 1 m • m • 1 jrrj .
cr z ra -z lr-z l • • •
t t t t t V V
-f«-
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, . zE=t= t= j= t=t== t: f-r~P=P=f:
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This dtude is played in the upper half of the bow

with a very free forearm movement rather than a
forced staccato. We might call it a free running stroke.
The hand should be ready for new positions, the first
and fourth fingers falling immediately into place. If the
student shows special weakness in the second and fourth
positions, review the Sevcik Studies for the Left Hand,
Book 2.1 Do not simplify the etude by playing single
notes instead of octaves. Practice three lines as written
instead of the whole etude simplified. I do not believe
in the synthetic method in the study of Kreutzer. If
the first and fourth fingers fall immediately into place,
the other fingers will fall naturally in their places.
The whole secret of the exercise lies in the student's
knowledge of intervals and position work. It is abso
lutely necessary in the study of octaves to hold the
violin firmly with the chin, the thumb and first finger
being free and the fourth finger falling in the same
plane as the third, in a natural curve..
The third and fourth finger trills having been mastered,
the wrist should be relaxed inward, the thumb resting
on the bone just below the middle joint. Octaves are
1 O. Sevcik, Op. 1, School of Violin Technic. Part II, Exercises
in Second to Seventh Positions. Published by Carl Fischer, New York.
Price $1.50.
very easily acquired if the hand is perfectly free and

relaxed. The first and fourth fingers move together
and fall simultaneously into place. I regard this etude
as partly mechanical, although it is an excellent forearm
study. Students with small hands should avoid too
much practice of an etude of this kind.
I would constantly review some bowing etudes among
the first twelve, and during the study of the trill dtudes
I would play a few of the double-stop studies of Halir
in the keys of C, G, D, and Bth If one wishes to practice
this etude at an increased tempo, play in the upper third
of the bow.
ETUDE NUMBER 25.
Allegro moderato
=fc-Jti
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Before the study of E/tude 24 in the old Peters edition

it is well to introduce Etude 25 of the Massart edition.1
Aside from being an excellent study of octaves, it is
very valuable as a means of hand control and free
position work, but I would exalt it as a bowing study.
First play it slowly in the upper half of the bow;
next, with a free running stroke, two notes being slurred
at the point of the bow. Now repeat each octave three
times. Play it also beginning with the up stroke at
the point, single bowings, staccato; also, the artificial
spiccato at the middle of the bow.
I would not spend too much time upon the etude
owing to its lack of musical value, and because all of
these bowings must have been used in the study of the
Sevcik 4000 Bowings.
Do not use the triplet variation as outlined by Kross.
The 6tude is No. 21 in the Kross edition.
ETUDE NUMBER 26.
The principal objects of this etude are the mastery

of difficulties of intonation, free position work, and a
brilliant staccato. You will observe that there are
many extensions. All of these should be played with
a perfectly relaxed wrist, the first finger being slightly
depressed, and the fourth finger being curved. Do not
release the first finger from its proper position, if pos
sible to avoid it, as the prime object of an extension is
thereby lost. String transfers are of the utmost impor
tance. Do not press upon the bow-stick when the fingers
are in very high positions. Keep the elbow well under
the violin, especially in extensions. The fingers must be
well arched and bent toward the left in a slight degree.
Do not draw the strings toward or away from each other
in the higher positions, as this causes false intonation.
Practice carefully the shifting from first to fourth
position. Do not draw the thumb back before pro
ceeding in the higher positions. The thumb always
precedes the hand in going to the positions.
Persons with very small hands must play tenths by
allowing the first finger to lie upon the string and draw
ing it around until it is almost at right angles to the
neck of the violin. The fourth finger then falls into
place. Never release the thumb from the neck of the
violin in very high positions,.if you can avoid it.
This 6tude should be played with uniform rhythm and
clean technic^ Do not use varied bowings. I generally

use it after Etudes 27 and 29, mainly because I wish to
take the legato studies first.
ETUDE NUMBER 27.

M oderato. 4 0
Upper third of bow. sim ile .
In the Kross edition this etude is numbered 18. It

is an intonation study in which the pure legato is
exalted. I cannot see the advantage of the nine forms
of bowing given by Massart. A study of tone gradua
tion is of great importance here. A study of my Three
Octave Scales/ especially those requiring the practice
of the crescendo, is valuable. I would use the upper
third or upper half of the bow as the tempo demands.
First learn the entire etude with a uniform tone and no
accent *that is to say, master its musical content. Under
no condition use the spiccato stroke. Pay special atten
tion to extensions. Keep the hand quiet, the fingers
falling readily into place, the first and fourth generally
leading in position work/
1 D aily Exercises and Three Octave Studies, by Edith L. Winn.
Published by Carl Fischer, New York. Price $1.00.
ETUDE NUMBER 28.

This etude is numbered 26 in the original edition. I

usually take it after No. 29. It is a musicianly study, a
sort of free form, such as we might find in the Concertos
of de Beriot. It seems to combine principles which we
have recently studied. The short, crisp staccato at the
point is followed by broad bowing and extended trill.
Note the similarity between this etude and the etudes
of Mazas (Etudes brillantes) . 1 Each phrase should be
clean cut. Practice the arpeggios carefully until mas
tered. Note in the fourth line the necessity of playing
the trill form in strict time. Sudden changes to the very
high notes require perfect freedom of the thumb and
a knowledge of intervals. In such leaps the shifting
finger does not necessarily take the new position. In
such a case the fourth finger seizes its tone at once.
In two-string transfers, be very careful to keep the
bow well over the two strings at once. When taking
a high note very suddenly do not force the tone. As
this is a technical study of the highest order, strive to
master the bowings at once in order that the left-hand
technic may not be hampered. All arpeggios should
be practiced separately until mastered. The old rule,
“Extensions with perfect freedom, ” must prevail.
Even when studying the double-stop etudes, continually
review this etude.
ETUDE NUMBER 29.
Moderato.

I cannot think of any etude more valuable for the

study of the pure legato than this one, unless we except
Nos. 8, 9, and n , the entire measure being upon one
bow. The present etude is the last of the legato studies.
You will observe that Kross makes it No. io, but at
that point in our study it is too difficult to be mastered.
Massart gives it many varied bowings. On account of
transfers, it should be played with great slowness and
evenness. When the wrist has become very supple,
take other forms of bowing, if desirable, although I
do not advocate this, as my own custom differs.
By this time, the student has mastered string trans
fers, and his fingers naturally remain in the positions,
the left hand being perfectly relaxed. If all these
conditions are not perfectly mastered, we shall be con
stantly hampered in the study of Fiorillo and Rode.
There should be no pressure upon the string, if the
wrist stroke is to be supple. Always preserve a sing
ing tone and a perfect legato. Many teachers use a
light running stroke at the point of the bow in a rapid
tempo.
The left hand should always anticipate the technical
work in the right hand. Uniformity of finger action,
force, and precision are indispensable. All technical
passages of special difficulty should be practiced over
and over. Do not play the etude with the student.
Give the example after he has shown you his own idea
of the work.
ETUDE NUMBER 30.
Upper third of bow.
The object of this etude is largely a technical one.

The stroke should be a forearm one when notes are
slurred, and a brilliant staccato when single notes are
played near the point of the bow. The bowing indi
cated in the Singer edition is also the prevailing one
in other editions.
I should analyze the musical content of the etude
with students. The forearm stroke used in the forced
string arpeggios should be very free, all the fingers being
in position. Do not sacrifice tone for the scale technic.
The bow should remain as heretofore, on the edge of the
hair. Accent strongly throughout. The elbow should
always follow the plane of the string.
Massart suggests that this etude be played with single
bowings. I would not advocate such a change of bow
ing.
In the seventh line be very careful of intonation in
the fourth position. Let all the fingers assume their
positions at once. Read in advance of each measure
played. If possible, avoid too brilliant a staccato,
unless the principle of arm and wrist relaxation is
thoroughly understood. Note similar progressions in
the different intervals of the scale, as in the thirteenth
measure. Note, also, the extensions in the fifteenth
line. All the fingers should be in place at once, the wrist
being relaxed toward the body of the violin, the fourth
finger being curved. Be especially careful of the sec
ond and fourth positions, and of such places as require
keeping the fingers very close together on the strings.
This is a very valuable etude for the repose of the
hand. For string transfers and arpeggio studies, as
well as a valuable factor in the study of intonation, it
cannot be excelled.
ETUDE NUMBER 31.

V 3
A tr tr V
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This etude is Number 29 in the original edition.

First study this etude carefully without the use of
the bow, mastering its musical content. The stroke is
a forearm one, the slurred notes occurring more fre
quently in the upper third of the bow. Do not com
promise a forearm stroke unless obliged to do so.
Some work for tonal development ought to accompany
this technical exercise. I would suggest the Double-
stop Etudes of Sitt.1 Do not strive for too much tone at
the beginning of this etude, as this may interfere with
the freedom of the bow arm. Accent the trills. Do
not use more than two trills and a turn. In the slurred
passages play near the point of the bow, giving the arm
more freedom as the theme progresses. All trills must
stand out clearly and brilliantly. A slow tempo and
even rhythm must be maintained.
It might be an advantage to analyze this etude so
that the student will understand the basis of its con
struction.
Play the scale of C minor and call attention to the
minor second throughout the work. Play passages
over and over in which the intonation is difficult, as we
find in the latter part of the etude. Be very careful
not to play the first of the two sixteenth notes like a
grace note when two notes are slurred. We frequently
observe the bowings of this etude in the works of Spohr,
Viotti, and Rode. Kross suggests the raising of the
bow between the slurred passages. I would rather
release the pressure upon the stick, letting notes fol
low each other in a flowing manner, there being a slight
pause between the slurred passages.
1 See footnote, page 28.
The octave work in the eighth measure should be
played with the wrist stroke, or forearm and wrist, at
the middle of the bow.
When intonation is fully established, increase the
speed of the exercise, paying special attention to the
running legato at the point of the bow. Do not use
the varied bowings of the Kross edition, as the etude is
not one in which the bowings may be best studied.
ETUDE NUMBER 32.

A ndante.
Before making a thorough study of the double-stop

£tude, I would advise the study of the scales of C, D, G,
and B\>, in double stops, by Halir. Master these scale
progressions, and keep them up constantly during the
study of Kreutzer, using many single strokes at the
middle of the bow, and raising the bow slightly after
each double stop; afterwards two notes slurred and four
notes slurred.
Supplement this work with the Double-stop Etudes of
Sitt and selected exercises by Mazas and Dont. Also
use my Daily Exercises for Violinists, Part II.1
While Etude 32, as found in the Hermann and Singer
editions, may possibly come first, I usually begin with
Etudes 33 and 34. If No. 33 is used, I first teach single
detached strokes below the middle of the bow, with a
light movement from the shoulder. I then study the
text, line by line. After this, I would teach the bowing
indicated, memorizing a line or two at a time.
1 Daily Exercises for Violinists. Part II, The Cultivation o f the
Legato. Published by Carl Fischer, New York. Price $1.00.
5o HOW TO STUDY KREUTZER.
If No. 32, or No. 34 as it is called in the Kross edition,

is used first, I would carefully review previous studies
of the legato, striving to keep the bow well-poised upon
two strings, so that the tones fall simultaneously. I
do not value this etude from a bowing standpoint, al
though the mastery of the legato is important. It is a
wonderful exercise for the study of extensions and for
poise and readiness of the left hand in position changes.
In this etude the fourth finger most frequently seeks
the new position. As it is impossible, at first, to slur
the notes and maintain excellent double stopping,
single strokes are advocated.'
I have sometimes studied the etude without the use
of the bow in order to lead the student to think the
intervals correctly and shift mechanically. Do not play
the etude with a small tone. If the third and fourth
fingers are ready for use, and the other fingers strong and
supple, there is $0 doubt but that the exercise may be
mastered easily. A study of the first Sitt double-stop
etude, with varied bowings, is invaluable.
Etude 13 in the revised Hermann or Singer edition
is also a help.
Too much double stopping, as well as too intricate
study of bowing, weighs the student down with laborious
details. Plan a reasonable division of such work.
One thing we must insist upon, and that is that all
important positions must have been mastered, also that
the bow arm is well trained, and that the left-hand posi
tion is faultless; for if the student cannot hold his fingers
properly over the finger board and play with force,
evenness, and precision, he is not able to play double
stops. He must of necessity play with a relaxed left
hand, and he must not be hampered by technical details
which he should long ago have mastered.
I would call special attention to the extensions, as
the hand must be very supple, the fingers free and
well arched over the strings. It is not advisable to
release the third finger when the fourth is making an
extension.
HOW TO STUDY KREUTZER. SI
ETUDE NUMBER 33.

Andante.
im 4=
P
Were it not for the fact that this etude calls for many
extensions and promptness of finger action, it would,
undoubtedly, be studied before Etude 34. As it is, the
size and flexibility of the player’s hand govern the order
of Etudes.
Always play the etude with detached bowings. Do
not waste time with a broad, lengthy bowing until the
text is mastered. Be very careful to slide the fingers
along the strings instead of raising them. The two
fingers move together. Strive for perfect intonation.
If the extension in the first line seems difficult, play the
passage in the first and second positions for practice.
After having used single strokes below the middle,
practice each line separately with the proper bowings.
Ascending and descending scale passages should be
played, slurring two or four until mastered; then play
the original bowing. Always think the intervals before
changing positions. If we have studied Halir care
fully, there is no reason why we should not be able to
play this etude in a very short time.
I would now pass from the study of the double stops,
reviewing such sections of each etude as seem necessary
to the teacher, to the study of Fiorillo; for I believe
that the latter should accompany Kreutzer rather than
follow it.
It is hardly necessary for me to state that Etudes
32 and 33, when mastered, should be played with the
whole bow and a broad, even tone.
ETUDE NUMBER 34.
"firr 1i "i T2 id im,— 1 12_j-1—

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=±=±=
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c I H H 1
You will observe that this etude imparts great vigor

and independence to the fingers. It offers no com
plications as to bowing. The fingers may take their
places at once. I would not combine the study with
the crescendo and diminuendo until its text is mastered.
Keep a uniform tone throughout. The fingers must
take their positions instantly, and if possible we must
read ahead of the notes which we are playing.
Again, I would encourage a study of the text interval
by interval, without the use of the bow. Play funda
mental chords with the down bow, as indicated and as
also taught in the first etude, Opus 32, by Sitt, and
the last etude of Fiorillo.
By this time one must have mastered a good legato, a
smooth and flexible wrist stroke, and there must not
be any hesitancy in position changes. A relaxed hand
is perfectly indispensable and a moderate tempo. I
prefer the fingering of the original edition, with some
changes. In the study of the first twelve Kreutzer
Etudes the fingering indicated by Kross undoubtedly
aids string transfers, but it is not wise to increase the
difficulties of double stopping, though I imagine the
followers of Kross have opposite views on this subject.
Massart suggests a number of bowings. Perhaps his
students had time for the mastery of such bowings, but
his persistence in the use of the grand detache and the
sautille would indicate either that these bowings are too
much emphasized, or that the student has been stupid
in the mastery of them. I do not believe in stressing
such bowings so as to interfere with the development
of the forearm or the acquirement of firmness of tone,
lightness, and clearness. There is so much technical
literature to be mastered that, especially in America, a
deep study of Massart or Sevcik is well-nigh impossible.
Frankly, Etude 34 has always been a favorite one
with students. In fact, I know many who have prac
ticed it daily throughout several years.
I do not deprecate the use of single detached strokes
when mastering the double-stops. Do not carry this
bowing to excess. The etude stands for the mastery of
the pure legato.
ETUDE NUMBER 35.

Allegro maestoso.
r -0 H > — * t :-r -
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1 -H
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I usually teach this etude after Nos. 36 and 37, mainly

because it involves several varied and important prin
ciples. It is, indeed, more like a theme with variations.
It must be played in a precise, energetic way, with per
fect rhythm and knowledge of its artistic purport, for
it is, indeed, above the average etude in its value.
All points previously discussed should be fully brought
out in this etude. A broad, free stroke should be main
tained, except in such instances as the following legato
passages:
which lie well up toward the point of the bow. A broad

sweeping style is absolutely necessary. Do not sacri
fice the legato in any instance, unless indicated. There
are two methods of playing the first theme. I prefer

the second, as it gives a more flowing movement.
In the fourth line, cut the sixteenth notes, anticipat
ing the staccato, but also slightly cutting the dotted
eighth. The bow arm should describe a curve well over
the strings.
Memorize the first seven lines before attempting the
second theme. Note the methods of bowing in the last
two lines. I prefer the following, as it gives a broader
and more noble stroke:
s?-
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i t 4r - U P f t - t
0 JL-------------3------ 1-- ---- )---— f - £ F g e * 6 - J
ETUDE NUMBER 36.
m m m m m
f f f f f / f f
v-i
This 6tude, numbered 34 in the original edition,
requires skill in the accentuation and a command of
the staccato. It should first be played in the middle
of the bow, with single strokes and uniform tone, the
bow being raised for each stroke, the movement coming
from the shoulder. This is a dangerous bowing, as I
have before indicated, unless one has a flexible fore
arm and a perfect mastery of the wrist. I would,
however, use this bowing somewhat in this etude in
single strokes, then master the double-stops with the
same bowing, except that the notes are slurred. Play
about half-way between the middle and the heel of the
bow, raising the bow after each group. Master the
content of the etude before striving for a mastery of
accentuation. The Viotti bowing, so-called, is indis
pensable for solo and orchestral playing, but it does not
add to the value of one’s tone if practiced too much.
It is hardly necessary to define the principle of the
artificial spiccato at this point. I would vary the prac
tice of the etude by using the upper third of the bow
in short staccato strokes, accentuation being reserved
until this point in our study.
Frankly, there are a great many etudes of Dont, Sitt,
and Mazas which are more difficult and less practical
than those of Kreutzer. I do not believe in eliminating
the study of Kreutzer, but I would select etudes which
suit the skill and development of the player, supple
menting this work with the best etudes of the com
posers previously named.
The second notes of the slurred notes must receive, in
most cases, the greatest bow length; otherwise, I have no
further comment to make upon the etude, except that
in cases in which the student has a very free wrist and
forearm stroke he may be allowed to play firm martele
strokes at the point of the bow.
ETUDE NUMBER 37.

Allegro vivace.
V
U .H . Tip. U .H .
While it is generally easy for students to play Etudes

of this kind quite rapidly, I should take it very slowly,
in order to master double and triple stopping. The

main object of the etude is a technical one. There
should be special contrast between the legato and the
staccato.
Analyze the dtude, playing the fundamental chords.
Bring out the crescendo on the second of the slurred
notes. Play with the whole length of the bow so that
the second of the detached sixteenth notes can be taken
at the point and heel alternately, with a wrist stroke.
This is not the only bowing that is practical. I would
play it in the upper half of the bow, the staccato six
teenth notes being taken with a short stroke.
The forearm must be very flexible, especially in pas
sages which require more than two strings. Strive to
keep the double stops and single notes absolutely dis
tinct, never allowing any note to be carried over.
Note especially the intonation in the second and
fourth positions.
In short string transfers observe flexibility in the
wrist.
ETUDE NUMBER 38.
There is no reason why this valuable etude should be

omitted in our study.
Before beginning the study, I would review No. 89
in the Sitt Double-stop Studies, and No. 58 in Mazas’
Etudes d'Artistes}
It is of great importance to give the notes which con
stitute the accompaniment their full value and only
their value. Play with the whole bow, using a light,
running stroke. It is a wise plan to call the attention
of the student to the musical content of the work, and to
point out passages in the works of Viotti, Rode, Spohr,
and Bach; especially in the unaccompanied sonatas of
Bach, for there we find frequent examples of a beauti
ful theme and a running accompaniment. Occasionally
it is well to use only the upper half of the bow where
special freedom is desired and where there are several
bowings in one measure. Be especially careful, in
position changes, to play triplets rhythmically and with
a singing tone. In the position changes the two fingers
constituting the double-stop must seek their positions
at once. Do not aim for any special tone color, as
undue pressure upon the bow may interfere with the
legato. Practice the etude line by line and phrase by
phrase. Be very careful to keep the fingers on the
strings as long as necessary, and also to anticipate string
transfers. Above all things, maintain a moderate
tempo and give every note its proper value. Do not
use any varied bowings.
ETUDE NUMBER 39.

Allegretto.
n# tt V]” “ i
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9
J —“j
9 9
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4- rP . rm US l 9
*'m r
9 1
c £ V V L -J V
dolce. 3 4 4
It has always been my custom to begin the etudes of

Fiorillo at or before this point. There are many etudes
of more practical value than this one; in fact, the Double-
stop Studies of Sitt, as well as a thorough study of Hafir’s
works, do away with the necessity for the study of this
dtude and others of its type.
We find it necessary to-day to abridge and supple
ment violin study by the use of such exercises as will
demonstrate important principles. There is so much
material, and the years are so short, that it seems wiser
to begin the study of the classic concertos at or before

this point. I also use for practical double stopping
the works of Leonard, Opus 41, the Spohr Duos, giving
the pupil the second violin part, Haydn Quartets, and the
Airs of de Beriot, in which we find many examples of
double stopping. If, however, in the judgment of the
teacher, this etude seems more practical than the use
of standard solos and ensemble works, I have nothing
further to say, except that if the study of Kreutzer is
abridged in Berlin, our American methods may also be
somewhat elastic.
ETUDE NUMBER 40.I

Allegro,
tr tr tr tr tr tr tr tr tr
- -i----- 3 ——^-------1
------- 1
-------
----- ^—
— — 0 ------- 1-------- -------l-l
Hr# i :z t * -= t • 1
W .B .
I sometimes use this trill study immediately before

the trill studies of Fiorillo. If possible, have some
advanced student illustrate with the Tartini Sonata
in G Minor, the Rode Eighth Concerto, or the Handel
A Major Sonata, in order that various forms of the trill
may be understood. For further examples of embel
lishments and trills, we may refer to the slow move
ments in the Bach and Spohr Concertos; also the middle
movements of the Haydn and the Mozart Quartets.
Everything that can aid the student to understand the
practical connection between the etudes and the stand
ard classics is important.
Intonation is very important in this etude, although I
do not always weary the student with a study of it in
its entirety. A few lines played with a clear, firm, and
slow trill, without accent, are an aid in the further study
of double trills.
As I said before, two trills are sufficient. Omit the
turn. Maintain a legato.
ETUDE NUMBER 41.

aagio. .J.—.1----—
, - 1. r-l - f e A
— ----------------- r«—
-m -
i ^ ip-s i s s_^ 9
W .B.
Julius Eichberg, once Director of the Boston Conser

vatory, who was by far the most careful teacher of
Kreutzer whom I have ever met, never taught this
dtude. He believed in the mastery of principles through
less complicated forms, and he valued the classic con
certos as a means of further study of principles which
need some inspiring and practical illustration. The
Little Tambour, by David, the Twenty-second and Twenty-
third Concertos of Viotti, the Souvenir de Bade, by
Leonard, were among the works which he used in con
nection with the study of Kreutzer. I do not recall
that he used the works of de Beriot to any extent.
These, however, are very useful, as well as the Six Solos
of Leonard, in connection with the study of Kreutzer.
In my book on ‘‘ How to Prepare for Kreutzer”
(Supplementary Remarks, p. 63), I have given a list of
works of this grade which are equally practical.
It is not necessary to enter into the analysis of Etude
No. 41. It is a study of intonation which should be
played in a sustained manner.
ETUDE NUMBER 42.

Moderate leggiero staccato.
1 3 1 1— :
P - • 4 *~ t • • ::
L 1~ # P
/
I have always spent considerable time with this 6tude,
as well as Etude 38.
6o HOW TO STUDY KREUTZER.
When first studying it, I use the middle of the bow —

a light stroke — raising the bow on each note.
The artificial spiccato may be used with good effect.
Master the musical content of the etude with a light
bow stroke. Then use a forearm stroke, the sixteenth
notes being played with a wrist stroke.
Study the etude in sections.
There are no new difficulties to be surmounted.
Always strive for a singing tone.
The double stops must not be played as an arpeggio.
Distinguish carefully between double stops and single
detached notes.
GENERAL REMARKS.
During the entire study of Kreutzer avoid the use of
the vibrato, especially if intonation is inclined to be false.
After finishing the etudes, always advise the student
to review each week, while studying Fiorillo, the etudes
of the three parts of the book:
a. First twelve dtudes for the fundamental bowings,
b. The trill studies, and
c. The double stops.
Whenever the student seems careless in the mastery
of new principles, teach him to return to old ones cheer-
fully, for the study of Kreutzer is really never finished.
Upon these remarkable studies are founded all sub
sequent works on advanced violin playing.
Careful examination of the works of Corelli, Tartini,
and other masters of the old Italian school, govern the
solidity and finish of the Kreutzer etudes.
I cannot speak too highly of the Massart bowings,
although I have never used them in their entirety.
The remarkable intelligence and musicianship dis
played in the revisions of Edmund Singer and Emil Kross
are, indeed, an evidence that the study of Kreutzer has
dominated the minds of the most thoughtful teachers
the world over.
I do not mean to exclude detail, but in practical
violin study in American schools and colleges it is
absolutely necessary to exclude everything which merely

reenforces principles already mastered in theory, at least.
From the standpoint of the great foreign teachers it
may be unwise to eliminate such work as seems very
important to them. Nevertheless, only a very small
number of our students are able to go abroad at all;
hence, we must adapt our system to the practical needs
of a country in which violin art, though rapidly advan
cing, cannot be as detailed or thorough as in Berlin or
Prague.
Few students in American colleges and secondary
schools ever go beyond the study of Kreutzer, although
Fiorillo, Rode, and Gavinies are included in the curricu
lum of study as outlined in the catalogues of such schools.
In this connection I do not include such colleges as
Oberlin, the University of Michigan, the University of
Wisconsin, and other large institutions in which the
study of the violin occupies more years and conse
quently advances the student beyond the grade hitherto
referred to.
I would urge all colleges and secondary schools to
adhere closely to a plan of study which is practical and
thorough rather than superficial or covering more
ground than the student can cover in the number of
years spent in such schools, for we must remember that
very few students in the Middle Western and Southern
schools enjoy the privilege of study there longer than
two or three years.
Let us then assume that to play Kreutzer well means
the mastery of the highest principles of violin playing.
t
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It is extremely difficult in our

jjjf I t is extremely difficult in our

ing the Tartini Art of Bowingf which, profound and

mastered. This necessitates the thorough study of

1 For further information regarding a general study of Kreutzer, con­

I DO not teach this etude until after the trill studies,

The arm, wrist, and fingers must maintain a perfect

This etude is the most important of the first twelve

See footnote, page vi.

2 3 Upper third. 2 4 Upper third.

3 7 Stacc. To be practised with both up- and down-bow.

No finger should leave the string until necessary.

the greatest speed possible to maintain bow position.

hand bowings of Massart, and the Tartini Art of Bowing,

stroke, is not usually considered to be a practical bow­

This 6 tude may be played with the same bowings as

relaxation of elbow and wrist, the two working har­

The prime object of this etude is the study of the

Place the fingers on the strings and play this dtude

lle E m egg ={M=

The Peters edition of Kreutzer suggests that the

—z ±$s------ *---------•r rI---------P--------

This dtude requires great dexterity of the wrist. I

/ Massart, in his excellent bowings of the Kreutzer

Sp. Stacc. L .H . Flying Stacc.

Flying Stacc. Tip. Stacc.

I would also teach this etude with varied bowings

This etude is an example of the study of the legato,

hand into place. The entire hand should move instantly

Do not crowd the fingers together; avoid unnecessary

There is a story current among students in Berlin to

orizing every two measures with the arrangement of

This etude is not included in the original Forty Studies.

space. In short string transfers we do not usually use

ETUDE NUMBER 14.

In the Singer and Hermann editions the fourteenth

the student’s attention should be naturally turned to

We are now beginning the trill etudes. While there

We should play at or near the point of the bow, the

Studies for the Left Hand (Book I on Technic), it is prob­

This 6tude is, fortunately, in an easy key and devoid

Such a passage requires special practice, the fingers

Note the similarity between this etude and the last

ETUDE NUMBER 18.

would, under no condition, begin the double-stop studies

ETUDE NUMBER 19.

This etude, although apparently easy as far as uni­

Varied ffirms of the trill should not be studied, and

1 In the Singer edition the grace notes are omitted.

ETUDE NUMBER 20.

This £tude, in the Hermann edition, is marked

ETUDE NUMBER 21.

In the original Kreutzer edition this etude is No. 20,

40 HOW TO STUDY KREUTZER.

ETUDE NUMBER 23.

I usually omit this etude, preferring to use cadenzas

ETUDE NUMBER 24.

This dtude is played in the upper half of the bow

very easily acquired if the hand is perfectly free and

Before the study of E/tude 24 in the old Peters edition

ETUDE NUMBER 26.

1 For further information regarding a general study of Kreutzer, con

stroke, is not usually considered to be a practical bow

relaxation of elbow and wrist, the two working har

Studies for the Left Hand (Book I on Technic), it is prob

This etude, although apparently easy as far as uni

Julius Eichberg, once Director of the Boston Conser