STAGE ONE KREUTZER

When practicing etudes, the student must never loose track of the purpose:

THE SEARCH FOR A BEAUTIFUL TONE
AND
MUSICAL EXPRESSION

Martelé, Detaché, and Legato with Kreutzer #2

• Introduction
  • The fundamental strokes
  • Why Kreutzer #2 is our ideal etude
• Preparation for the strokes
  • The Thumb – VIP of the bow hand
  • Whole bow exercises
  • The Train Story
• The Martelé Stroke
  • Kreutzer #2 with Martelé
• The Detaché Stroke
  • Kreutzer #2 with Detaché
• The Legato Stroke
• Bowing Variations in Kreutzer #2
  • The “Z “ or Travel Bowing
  • The “Either/Or” Bowing

Introduction

The foundation of reliable bow technique is based on the martelé, detaché and legato strokes. Therefore the training of the bow arm begins with establishing these strokes in all parts of the bow. When students are able to play good bow strokes with ease, the teacher and student share a common vocabulary. This gives the teacher a clear and understandable language for communicating musical and technical concepts. Creating a common technical language is an essential part of the teaching process.

Kreutzer Etude #2 is an ideal place to begin assessing the solidity, health, and current state of the student's foundation. The etude and its myriad variations can be used to explore the fundamental levels of violin technique. Kreutzer #2 helps develop a fluid bow arm through martelé, detaché and legato strokes, examine bow division, and work on left hand placement and intonation. No matter how advanced the student, it is advisable to return often to this etude to check that all is working well.

The variations used in our study come from the Galamian edition of the etudes (International).

Preparation for the strokes:

Before beginning, place a middle tape on the bow. If the student’s arm is too short to reach the tip, identify the appropriate end of the bow for the student. Place an additional tape at the point where the forearm is extended to its fullest length without locking the elbow.

	Clip Title:	Balancing the Right Hand: From Frog to Tip
	Description:	Finding a comfortable bow position, tapping the bow fingers, the right hand balance
	Channel:	205
	Duration:	2'52"

Place the bow at the frog; the index and little finger balance the stick while the thumb rests in the middle, across from longest finger. The thumb is not placed directly underneath the stick, but balances on the octagonal side of the bow, facing the body. Rest the bow in the middle on the A string and tap the first finger, the two middle fingers, and the pinky. Place the bow at the tip and observe that the back of the hand is relaxed with pinky and ring finger resting on the stick. At the frog, the front of the hand is relaxed as the bow is balanced back towards the pinky finger. Tap the thumb to check left hand balance.

Exercises that help establish the use of the whole bow:

	Clip Title:	Silent Bow Placements, Whole Bow Circles and Bow Wanderings
	Description:	Expanding the whole bow
	Channel:	257
	Duration:	0'00"

	Clip Title:	From Tip to Frog: The Train Story
	Description:	Explaining how to draw the bow from tip to frog - a whole bow
	Channel:	255
	Duration:	2'41"

Work through the following metaphor, either with your teacher or observing in a mirror:

The right hand is like the engine of a train; the forearm represents the line of cars, and the back of the elbow is the caboose. Visualize that you are chugging up the mountains of Switzerland. Begin up bow at the tip, with the engine pulling the cars. At the point where the forearm can no longer move and maintain a straight bow, the caboose kicks in to push the cars to the frog and to finish the journey up the mountain. For down bows, reverse the process.

THE MARTELÉ STROKE

	Clip Title:	The Martelé Stroke - Bowing to Success: 4, 2, 1 Martelés per bow
	Description:	The Martelé stroke is the first fundamental stroke on which a good bow arm is based. Playing 4, 2, 1 Martelés per bow with a ringing tone and flexible bow position.
	Channel:	209
	Duration:	2'08"

The martelé stroke is the first fundamental stroke on which a good bow arm is based. The martelé is a released stroke with a definite beginning and ending. The stroke is played using only the weight of the arm, producing a ringing tone. This gives the student the first sense of flow inherent in bowing, and the freedom to use the whole bow. A primary goal is to be able to get from the frog to the tip with one gesture. To achieve this, the bow hand remains relaxed throughout the stroke.

The martelé stroke starts from the string and is released using the weight of the arm, with the bow remaining on the string. The martelé will have a ringing tone after the well articulated beginning.

At the frog, the index and little finger balance the stick with the thumb in the middle. The longest finger rests across from the thumb. The thumb is not placed directly underneath the stick, but balances on the octagonal side of the wood facing the body. Rest the bow in the middle on the A string and tap the first finger, the two middle fingers, and the pinky. Place the bow at the tip and observe that the back of the hand is relaxed with pinky and ring finger resting on the stick. At the frog, the front of the hand is relaxed.

The martelé stroke is first practiced on open strings with 4 stops per bow, then with 2 stops, and finally with whole bows (WB). When the student is able to play a ringing stroke on open strings, work begins with Kreutzer Etude #2.

Kreutzer #2 with the Martelé

	Clip Title:	The Martelé Stroke with Kreutzer #2
	Description:	Using Kreutzer #2:  Playing 4, 2, 1 Martelés per bow, checking the shape of the left hand, placing finger before bow, learning to relax each finger after it has played.
	Channel:	210
	Duration:	5'31"

Practice 4 martelés per bow, 2 per bow, and WB, listening to the articulation (“ping”) at the beginning of the stroke, which produces a ringing tone.

Practice Tips

• On the down bows, visualize pulling string from the left side of string
• On the up bows, visualize pushing string from the right side of string
• Search for resonant tones using the least amount of effort possible
• Place the finger before the bow (FBB)
• Relax each left hand finger after it has played, allowing the hand to find its own most natural position

THE DETACHÉ STROKE

	Clip Title:	The Detaché Stroke with Kreutzer #2
	Description:	Playing Kreutzer #2 with the Detaché stroke in the upper half and lower half of the bow
	Channel:	211
	Duration:	5'25"

The detaché is the first continuous stroke addressed. The flow discovered in the martelé is here also, but without stopping between notes. The detaché stroke is practiced in the upper half of the bow on open strings. In the upper half, the stroke is executed by releasing the forearm. The right hand remains flexible and relaxed. The balance between the thumb and longest finger stays constant. Feel the weight of the upper arm pulling and pushing the strings. The stroke is practiced in the upper half, lower half (releasing the upper arm from the ball and socket joint), and finally the middle third (releasing the forearm).

Play the etude with detaché in the UH of the bow; listen for a clear, focused tone.

Play the etude with detaché in the LH of the bow. Use the forearm as long as possible, and continue to the frog using the upper arm, moving across from the ball and socket joint. Remember to use the caboose!

THE LEGATO STROKE

The legato stroke is our smoothest stroke with the most imperceptible bow changes possible. At the learning stage, this stroke emanates from slowing down the detaché. It can be conceived as the union of the LH and UH detaché strokes. The beauty and variety of the legato comes from awareness of bow speed.This stroke is needed to begin the bowing variations in Kreutzer #2.

Review the Train Story and other whole bow exercises.

To make sure that the weight of the right arm is properly engaged, visualize the arms hanging from the shoulder girdle and attached to the shoulder by the ball-and-socket joints. Do not raise the shoulders. The right arm moves across the violin from the ball-and-socket joint in a horizontal motion.

Bowing variations in Kreutzer #2

	Clip Title:	Bowing Types with Kreutzer #2
	Description:	Bowing variations with an awareness of bow division: travel bowings (“Z”) and “either-or” bowings
	Channel:	212
	Duration:	4'30"

Study and play the Kreutzer #2 variations observing the bow division. During the first week, limit yourself to the first 12 variations.

When there is an even number of bow strokes in the variation, the “Z” or “travel” bowing is employed to allow for returning to the starting point of origin without false accents. [See Kreutzer #2 beginning at variation 15 in the Galamian edition]

With an odd number of bow strokes, use the “either-or” bow division.

[See Kreutzer #2 beginning at variation #19 in the Galamian edition]

REMINDERS

• Relax each left hand finger after it has played.

	Clip Title:	Intonation Practice: Remembering Tonic
	Description:	With Kreutzer #2, listening for intonation by matching the key notes
	Channel:	213
	Duration:	3'51"

• Constantly check your intonation. Determine the exact pitch of the most important note in a passage (usually the tonic note). Exactly match this note in all octaves and with the other fingers playing the same note. You will be amazed at how the surrounding notes fall right into place!
• Be aware of the freedom of the forearm.
• Balance the right thumb on the bow lightly, without squeezing the frog.

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