STAGE FOUR KREUTZER ETUDES

Table of Contents

• Begin Kreutzer # 6 with Martelé
• Introduce Spiccato-Kreutzer #6
• Kreutzer #4
  • Up Bow and Down Bow Staccato

Kreutzer #6: Martelé in the UH, LH and WB, and Spiccato

How to practice:

• Finger Before Bow (FBB)
• Stop the bow on the new string changing the level for each string using the right arm from the ball and socket joint
• Martelé in the UH, LH, and WB
• Vibrate each note beginning with the impulse of the bow

THE SPICCATO STROKE

	Clip Title:	The Spiccato Stroke – Kreutzer #6
	Description:	Teaching the spiccato stroke
	Channel:	218
	Duration:	5'45"

Spiccato has been traditionally defined as an “off the string” stroke where the bow rests in the air between strokes. However, I approach spiccato from the detaché stroke, thinking of it starting from the string and coming off. This allows the stroke to ring, and avoids that “spicky”, brittle sound. After the basic motion of the stroke is established, it is vital that the first note always starts from the string.

Introducing the spiccato bow stroke

The Bounce

Open strings: Begin by silently bouncing the bow on open strings (vertical motion) in the middle. Play 4 bounces per string, GDAE and back, using the whole arm to bounce the bow. Don't try to control the bow, just let it bounce as high or low as it will go, like a ball. This is to help the student get the feeling of the bow bouncing. Then move to 3 bounces, 2 and finally 1 bounce per string, making sure that the right arm level changes with the string level.

Add Forearm Motion:

When the student is comfortable with this, add a forearm (horizontal) motion in the lower half and repeat the 4, 3, 2, and 1 (beginning up and down bow) bounces per note.

THE KEY TO A GOOD SPICCATO STROKE IS

USING THE FOREARM IN THE LOWER HALF OF THE BOW

Reminders:

• The upper arm stays completely relaxed. The most important thing to remember is to allow the bow to bounce -- feel the arm falling. You cannot force this stroke. The thumb must be relaxed and requires continuous monitoring.
• When playing spiccato, the first note always begins from the string.

Kreutzer #5 with spiccato

With the spiccato stroke play every note 3, 2 (beginning down bow and up bow), and 1 time per note. Always start the first note from the string.

UP AND DOWN BOW STACCATO

	Clip Title:	Up and Down Bow Staccato – Kreutzer #4
	Description:	Teaching up bow and down bow staccato
	Channel:	219
	Duration:	5'33"

Up and Down Bow Staccato are legato strokes that are stopped at the end of each note. This stop then becomes the beginning of the new note. When taught like this, the stroke becomes very clean. Maintaining the feel and sense of a legato stroke in the midst of the stops is the essence of learning this stroke. Begin teaching the stroke by playing down and up bow with 2 notes per bow with the bow moving with a constant legato tone. Then add 3, 4, 5, 6, 7, 8, 10, and 12 notes per down and up bow making sure that the stroke begins with the stopped sound from the previous note.

A well-executed staccato stroke is also an indication that the bow is maintaining a good relationship to the string. It is “in the string” not on the surface.

Kreutzer #4 - Up and Down Bow Staccato

How to practice: 

• Begin with the open string exercise described above. 
• Teach Down Bow Staccato first: Start the etude up bow so that the staccato stroke will come on the down bow.
• Practice slowly. The up bow is martelé, then the staccato notes are played by stopping the bow at the end of each note, which become the beginnings of the new notes.
• The right arm level changes with the string crossings.
• Teach Up Bow Staccato

When the down bow staccato has been mastered, begin the etude down bow to develop the Up Bow Staccato.

Increase the tempo resulting in a brilliant staccato etude.

Helpful hints:

• On the first staccato bow, first take take off then 4th finger on the bow. On the next staccato bow, take off the 3rd finger, then the 2nd. Next, place back down the 2nd, then 3rd, then 4th fingers.
• Let the bow conform to the rhythm of the left hand and visa versa.
• Check that your bow levels are changing smootly over the strings.
• Do not let your wrist come up.

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