Previous Page | Next Page

STAGE FIVE KREUTZER

By the time the student has meticulously learned Kreutzer through the trill etudes, virtually all aspects of violin playing have been addressed. The fundamental skills of the other technical topics: scales, shifting, finger dexterity, and vibrato, were established during the earlier stages. In these areas, stage five contains more advanced work. 

Physical freedom is the road to musical freedom.

Hopefully, the physical freedom that has been acquired releases our ultimate goals: musical freedom and musical growth. Having found the flow, let’s make sure it grows from a stream into a mighty river of musical communication.

The next years are spent building on top of this healthy foundation with additional etudes, scales and repertoire. Continue to revisit the previous stages, keeping the basic principles alive and well. Take care of your healthy foundation! Best wishes!

Table of Contents

Introduction

Kreutzer Etudes #7-14

• Kreutzer # 7
  • String Crossing, Martelé, Collé
  • The Collé Stroke
• Kreutzer # 8
  • Detaché, Intonation, and Sautillé
• The Sautillé Stroke
• Kreutzer #9
  • Finger Dexterity
• Kreutzer #10
  • Shifts, Bow division, Harmonics, Collé
  • The Collé Stroke
• Kreutzer #11
  • Anticipated (silent) Shifts 
• Kreutzer #12
  • Shifting and Full Detaché Tone
• Kreutzer #13
  • String Crossings, Whole Bow Martelé, Chords, Left Hand Facility, Left Hand Pizzicato
• Kreutzer #14
  • Bow Control With String Crossings, Intonation, Shifting

The Trill Etudes Kreutzer #15-22

• Kreutzer #15
  • The Impulse Trill
• Kreutzer #16
• Kreutzer #17
• Kreutzer #18
• Kreutzer #19
• Kreutzer #20
• Kreutzer #21
• Kreutzer #22

Introduction

Depending on the level of the student, Dont Etudes Opus 37, or Rode and Dont Opus 35 can be added. (Link to sequence of etudes from the Repertoire Link.)

For the following etudes 7 through 14, the purpose of the etude and practice suggestions are listed.

The trill etudes 15-22 are then listed with practice suggestions.

Kreutzer #7: String Crossings, Martelé, and the Collé Stroke

How to practice:

• Make sure right arm level changes with string crossings remembering to change the arm level from the ball and socket joint
• Stop the bow on the new string, letting the bow rock to the new string. The bow fingers should be very flexible. Exercise: Place the bow on the bridge at the frog and rock it back and forth using the pinky to balance the bow. Feel that the fingers are very flexible.
• FBB
• WB martelé
• Legato, with vibrato
• Collé: a.) the frog, b.) up bow at the frog, down bow at the tip, c.) down bow at the frog and up bow at the tip. Use just the fingers to move the bow horizontally. The bow stroke will be only as long as the fingers. Change the level of the bow using the arm levels which change from the ball and socket joint.

THE COLLÉ STROKE

Most bow strokes evolve naturally from the free flowing motions of the right hand and arm. However, the motions of the collé stroke must be specifically taught and learned, before it can be executed. It increases the flexibility of the hand and benefits all bow strokes. It is initially practiced at the frog using only the fingers. The collé is a condensed version of what happens to the fingers as the bow travels from the frog to the tip. The fingers begin in their rounded position, and with a “swoosh”, the fingers horizontally open to their longest position. The beginning of the note is articulated and rings as the fingers release and the bow travels only as far as the fingers allow. It is important to change the level of the bow arm from the ball and socket joint for each string crossing. The collé can be practiced in all parts of the bow, beginning up bow and down bow.

	Clip Title:	String Crossings – Schradieck #4
	Description:	Teaching string crossings
	Channel:	254
	Duration:	4'14"

• All the variations: Variations #11 - 13 are spiccato, remembering that the first spiccato begins from the string. With Variations #21-26 alternate between frog, middle and tip, using very little bow.

Kreutzer #8: Detaché, Intonation, and Sautillé

How to practice:

• Listen for clear ringing intonation.
• Detaché, UH, non vibrato and slow for intonation. Make sure the right thumb is relaxed. Listen for the tone that you want.
• Shifts: Be aware of good timing.
• Sautillé: 4, 3, and 2 times on every note starting up and down bow
• Bowing variations begin with # 6. Make sure bow division is correct.

THE SAUTILLÉ STROKE

	Clip Title:	The Sautillé Stroke – Kreutzer #8
	Description:	Teaching the Sautillé stroke
	Channel:	221
	Duration:	4'29"

The sautillé stroke is traditionally defined as an off the string stroke where the bow rests on the string between strokes. However, I find it easier to teach the stroke by emphasizing that the hair of the bow stays on the string while the stick bounces. Start with a detaché at the tip. Gradually move to the middle while shortening the bow stroke, making sure that the stick is over the hair, the thumb is loose and the arm relaxed. The fingers should be elastic, neither stiff nor floppy. Keep the forearm flexible, open*, and released. Find the point in the bow where the sautillé will work! Add a little wrist flexibility if necessary. String crossings will be clean and clear if the right arm level changes with the string level while maintaining the same basic forearm motion. Crossings should be initiated from the upper arm (ball and socket joint).

[* open = elbow is past 90o - normally above the middle, but necessary for this stroke.]

Kreutzer # 9: Finger Dexterity

How to practice:

• Leave the finger down if returning to it within the same position
• Relax each finger after played
• Practice separate bows, 4, and 12 notes to the bow and as printed
• Practice with rhythms
• Isolate the shifting section five lines from the end remembering to shift on the old finger to the new position
• Change fingerings so that there is always a string crossing

Kreutzer # 10: Shifts, Bow Division, Harmonics, Collé

Bow division: Whole bow on the eighth notes and half bow on the sixteenth notes

How to practice:

• WB martelé on the 8th notes and detaché in the UH or LH on the 16th notes
• FBB, shift on the old finger, time the shifts
• Practice using harmonics and open strings wherever possible during the first section. (The harmonics in the first arpeggio are on G string)
  Harmonics

	Clip Title:	Harmonics – Kreutzer #10
	Description:	Learning the natural harmonics, applying them to Kreutzer #10, understanding the fingerboard
	Channel:	222
	Duration:	5'18"

• Collé at the frog

Kreutzer #11: Anticipated (silent) Shifts

How to practice:

• 3 notes per bow, slow practice, listen for the changing tone (the triplet consists of two eighth notes and two sixteenths)
  Example
• 6 notes per bow, with the changing tone
• 6 notes per bow without the changing tone, but still shifting on the old finger to the new position (time the shift and make the finger very light).
• The whole measure without changing tones. Keep the bow moving with even pressure and speed.

	Clip Title:	Shifting Checkup: Remember the Journey
	Description:	Applying the principles of anticipated shifting to Kreutzer #11
	Channel:	223
	Duration:	3'37"

Check the Shifting Link for more explanation of the anticipated shift.

Kreutzer #12: Shifting and Full Detaché Tone

How to practice:

• Shift on the old finger, time the shifts, slow shifts.
• Use the whole bow on the slurs
• Roll the bow to the new string from the last note of each measure without taking the bow off the string.

Kreutzer # 13: String Crossings, Chords, Left Hand Facility, Left Hand Pizzicato

How to practice:

• WB on the slur, working on the first note. The separate bows you get for nothing.
• Play as chords, LH legato
• As printed in the UH. Work on the first slurred note
• No second slur
• Left hand pizz. Fingering needs to be changed for this.

	Clip Title:	Expect the Unexpected – Kreutzer #13
	Description:	Reinforcing smooth string crossings, double stops, working on the slurs, left hand pizz.
	Channel:	224
	Duration:	5'21"

Kreutzer # 14: Bow Control with String Crossings, Intonation, Shifting

How to practice:

• 8 notes martelé, FBB
• 8 notes slurred
• As printed, martelé and slurred (the purpose of the martelé is for bow division)
• Legato string crossing with well-timed shifts

THE KREUTZER TRILL ETUDES #15-22

All of the trills from #15 to #22 are practiced with measured trills and include the turns.

Kreutzer #15

(This etude is a challenging one and takes some time for the student to fully master it.)

How to practice:

• The trills are practiced with 5, 6, 7, and 8 notes for each trill including the nachschlag
• FBB, UH
• Stop the bow at the end of each down bow (martelé stroke)
• Relax each finger after it is played. Make sure that the back of the hand is loose.
• The last two largo variations are changed to 3/4 time with an impulse trill

	Clip Title:	Using the Trill to Release the Vibrato Impulse – Kreutzer #15
	Description:	Teaching the first of nine trill etudes with the use of measured trills
	Channel:	225
	Duration:	3'24"

The Impulse Trill

The impulse trill is a trill where as many notes as possible can fit into the note while still sounding clear. Just as the right hand can generate many strokes with one impulse, allow the left hand to activate the impulses of the finger with one generating motion.

Tip: Leave the stationary finger completely in the string while the other finger is trilling. This will increase the clarity of the trill.

Kreutzer # 16

How to practice:

• Play both variations martelé in the UH and LH.

Kreutzer # 17

How to practice:

• Martelé, UH.
• Stop the bow on the new string.
• Make sure the bow goes to the tip on the down bow 16th note.

Kreutzer # 18

How to practice: 

• Dotted 8th note trills: 7 notes to the beat.
• Dotted quarter trills: 8+8 notes every 2 beats
• Half note trills, 8+8 notes.
• Double dotted quarter note trills, 8+9 notes every 2 beats.
• Quarter note trills, 8 notes per beat.

Kreutzer # 19

How to practice:

• Measured trills: 6, 8 and 12 notes per beat.
• Slow shifts.
• Relax all fingers after played.
• Half note and double-dotted quarter trills are impulse trills.

Kreutzer # 20

How to practice:

• Martelé, FBB.
• Slurred,
• 1 trill
• 2 trills
• Left hand pizz
• Even legato bow strokes with smooth string crossings.

Kreutzer # 21

How to practice:

• 4 note trills starting from the note above.
• 5 note trills starting from the note.
• UH, FBB, martelé

Kreutzer # 22

How to practice:

• Variation 1, slowly using the WB
• 1 trill
• 2 trills
• Change the first sixteenth note to a dotted half note trill and the last three 16th notes to a triplet. Place metronome on the quarter note = 42 and play with an impulse trill.