Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
by
CARLE DOUGLAS DUGUID, B.Ed., M.Ed.
A DISSERTATION
IN
FINE ARTS
Approved
August, 1988
A PEDAGOGICAL STUDY OF SELECTED INTERMEDIATE VIOLIN PIECES
by
CARLE DOUGLAS DUGUID, B.Ed., M.Ed.
A DISSERTATION
IN
FINE ARTS
Approved
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Accepted
August, 1988
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Copyright
1988
Carle Douglas Duguid
I
ACKNOWLEDGEMENTS
11
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ii
ABSTRACT v
LIST OF FIGURES vii
LIST OF EXAMPLES viii
LIST OF PRELIMINARY EXERCISES xiii
LIST OF ABBREVIATIONS xvi
I. INTRODUCTION 1
Background for the Study 1
The Western Board of Music 2
Need for the Study 12
Purpose of the Study 14
Definitions 16
Limitations 21
Notes 22
II. REVIEW OF THE RELATED LITERATURE 23
Pedagogy 23
Syllabi 70
Summary 76
Notes 78
Summary 90
Notes 91
111
IV. ANALYSIS OF PIECES
Notes 224
Summary 225
Recommendations 228
APPENDICES
IV
ABSTRACT
High School and Senior High School age are at the inter-
teachers.
in the dissertation.
VI
I
LIST OF FIGURES
Scale of Marking 9
vii
LIST OF EXAMPLES
7. G. P. Telemann. Suite in G
Rigaudon, measures 12-13 105
9. G. P. Telemann. Suite in G
Bourree, measures 11-12 108
10. G. P. Telemann. Suite in G
Loure, measures 3-4 109
11. G.P. Telemann. Suite in G
Vlll
II
ix
42. 0. Rieding. Air Varie, measure 44 154
XI
i&- *•
II
xii
LIST OF PRELIMINARY EXERCISES
xiii
1!
25 . Marmonic 141
xiv
l/t .*•'
I
XV
/ 1
LIST OF ABBREVIATIONS
•\bbreviation Meaning
har harmonic
m. measure
mvt. movement
University of Toronto
XVI
CHAPTER I
INTRODUCTION
1
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A Brief History
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Operations
Theory Examinations
Table 1 .
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1 through 4 none
5 1 (1 paper) Rudiments
6 2 (1 paper) Rudiments
7 3 ( 1 paper) Rudiments
8 4 (1 paper) Rudiments
9 5 (2 papers) Harmony
Jr. Aural
Musicianship
10 6 (4 papers) Harmony
Music History
Form and Analysis
Intermediate Aural
Musicianship
Practical Examinations
examiners.
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lists.
in past examinations.
Definitions
beginning of a note,
following a shift.
ceding a shift.
'7
I
adjacent strings.
pauses or separation.
weaker pulses.
19
the string.
bow.
or pulse.
bow strokes.
upper neighbor.
21
Limitations
of the repertoire.
y
22
Notes
Flesch, Carl. The Art of Violin Playing. 2nd Revised
Edition. New York: Carl Fischer, Inc., 1939.
Syllabus No. 2. 1983 Issue. Edmonton, Alberta: The
Western Board of Music, 1983.
CHAPTER II
Pedagogy
23
24
selected pieces.
Finger Preparation
change of string the left hand and the right arm must
p. 3 3 ) . Galamian states:
u 1
Shifting
As Flesch indicates:
I in
Example 6
^
^
_(
j }^ Exdmple 8
the tempo, the faster the shift. That the bow should
p. 26 ) .
28
27.
« 1 1 3 1 1 4 11 4 2 2 4 n r»
28.
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. . . The boundaries of the distance to
be covered are established by one of the
two notes to be played, as well as by the
intermediary note . . . the latter must
not be heard in performance; while it may
be of supreme importance, when practicing
the change of position. (Flesch, 1939,
Book 1, p. 28)
29
in shifting, stating:
^-i9-
1 3
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^ 2 4 2 2 2
Do these exercises on all strings. (Applebaum,
1986, p. 36)
f
30
Yampolsky:
1 2 3 1
fmM^^ ^ ^
(4; Changes of position using nat-ir-il Lj.r-
monics.
Bruch, Concerto in G minor, 3rd Mvt.
Allegro energico
w 4
4 i:3t f if f r
(5) Changes of position using conttiotions.
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4 4 . . 4
-—m instead
2
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(Yampolsky, 1971, pp. 42-46)
rules of shifting:
The same technique is used for descending intervals as for ascending, i.e. the
finger already on the string forms an auxiliary note.
34
Playing in Positions
35
position.
Starr. He states:
rt
^
37
^ j j3 j r4 r4 ^' ^ ^J H U ^
(Applebaum, 1986, p. 13)
^i^ ^ ^:^
"'^^fi
In Example 121, the trilling finger is
raised as high as possible, and drops back
upon the string with the greatest possible
elasticity. In Example 122, the finger
is raised as little as possible. In the
third exercise, the trill is carried out
in slow, regular beats and in the end as
a quick trill exercise in its original
form. (Flesch, 1939, Book 1, p. 46)
38
Vibrato
(Galamian, 1985, p. 4 2 ) .
vibrato.
These two movements are carried out one after the other
Book 1, p. 4 0 ) .
Harmonics
p. 129).
MMMIBM
44
Finger Facility
^ ^ ^ ^ ^
^
and Galamian.
Double Stopping
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Sixths
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one finger on two strings with the result that one note
slightly the finger and wrist and moving the elbow more
Example 12
Jacob Dont: 24 Etudes and Caprices, O p . ;5
No. 21 (measures l-Z
A rhythmic variant that will shorten the
troublesome notes will help most effectively
in practicing. (Galamian, 1985, p. 29)
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1939, p. 4 4 ) .
hand.
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Play this exercise with the whole length of
the bow on each group of five notes.
(Menuhin, 1971, pp. 83-84)
the middle, tip, and frog, transferring the bow from one
following exercises:
1. Place the left hand in
the middle positions, hook
the bow on the little finger,
and establish a correct
bow hold.
right arm and not just the wrist that follows the
j! j^ I II j j ^
.'2
If the crossing is made gradually enough, a
double stop will sound momentarily between
the two notes, as indicated by the grace
note in the example. This double stop should
form so subtly that it is not possible to
distinguish either the exact moment of its
beginning or the instant of its termination.
. . . A very slight pressure of the bow,
just as the crossing is made, will help fur-
ther in binding the tones smoothly together.
(Galamian, 1985, p. 65)
"where the bow changes back and forth between two strings
^ ^ ^ ^ 4 0 4 04 4 0 4 0 4 ^
Accents
291.
za
^
f^-fM-fr^
(c) Accent in the midst of a legato
Beei/ioven, Quartet Op. 59, N9 1, 1<? Movt.
54
pp. 141-142).
r mi
c) Play dotted notes, using one
third of the bow for each beat.
Portato
190. ^1^
(Flesch, Book 1, 1939, p. 73)
since the portato itself gives the bow the desired quality
double stops.
the lower notes are played before the beat and the upper
Not.ntion Execution
I. 2
260.
P ^ h M ^ ^ ^ ^
T
61
p. 8 4 ) .
Notation Execution
261.
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Flesch contends that the correct breaking of the chord
Spiccato
the bow for each separate note. With the bow held above
the string, the forearm drops the bow against the string
action will shift from the arm toward the hand and
p. 29) .
21-2.
f
1
r,;
In the pp at the point:
Pl^,— n V nLttl.nif,!, F-ni.ij. Son. 39 Mov't.
213.
PP
At times it is played very shortly, as in:
Beethoven, Son. A-maj.Op. 12, N9 2
: U .
4
^ ^
^
18. .^xj_ugivp-r;gpji^r
Saint-Saen», H.ivanaise
2 IP
786.
m
No more bow should be expended on the tied
notes than upon each of the detached notes.
(Flesch, Book 1, 1939, p. 154)
Martele
(Galamian, 1985, p. 7 1 ) .
the student to "press the hair into the string near the
Combination Skills
68
Teaching:
ExompI* 44
n
Interpretive Skills
Syllabi
A syllabus is a graded list of pieces, studies and
Number of
Grades 6 11 10 12
Theory
Required no yes no no yes
Ear Tests
Required no yes no no yes
Sight Reading
Required no yes no no yes
Certificates
Awarded no yes yes yes es
Diplomas
Awarded no yes no no yes
Number of Grades
Etudes
F. Fiorillo - 36 Etudes
R. Kreutzer - 42 Studies
P. Rovelli - 12 Caprices
P. Gavinies - 24 Studies
Scale Technique
among the three syllabi than for etudes. The ASTA intro-
74
Repertoire
the UIL list. Volumes One through Three in the SVS, Grades
in first position.
76
Summary
the systems except the ASTA. Only the RCMT and WB require
and WB.
J
78
Notes
CHAPTER III
Selection of Pieces
80
L-JM^'
y
81
Pizzicato
signs.
8o
advanced level.
UIL III II
WB 1 - 3 4-7 8-12
surveyed.
Selection of Pieces
84
the grade from which they were chosen and their publisher,
Suite in G Telemann 21
Bourree Henry 17
Gavotte in D Bach-David 12
Giguetta J. S. Bach 21
Daussila Jaque 17
Minuet C. P. E. Bach 14
Gavotte in F Martini 10
Minuet in G Beethoven 19
La Legere Fiocco 15
Mazurka Blachford 10
e
OP
Sonata in Bb Arne 32
Evening in the Village Bartok 27
en) Kreisler 16
Tambourin Mondonville 12
Selection of Skills
interviewed by telephone.
88
Vibrato Portato
Spiccato
90
Summary
of figures.
MSMh J
91
Notes
CHAPTER IV
ANALYSIS OF PIECES
92
J
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93
(2) draw the bow straight between the frog and tip at
94
along with string crossings and quick bow changes for the
right arm.
(5) vibrato.
Finger Preparation
98
this skill.
M: a.n
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i'^^'iSJJ ^
m
is
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In Part a, a rest is inserted between measures o^
ensure that the finger does not touch the open string,
the elbow must move to the right further under the vio-
99
sounds is eliminated.
Example 3: Anonymous.
Brother James' Air, measures 8-10
Preliminary Exercise 3:
Finger Preparation--Open Strings
o o
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In Part a, a double stop F#-A is played to ensure
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Preliminary Exercise 4:
Finger Preparation--Fourth Finger
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In Part a, a double stop A-G is sounded to ensure
Example 5.
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102
Example 5: G. P. Telemann.
Suite in G - Bourree,
measure 1
m^
Unwanted open string sounds will be heard, and
played as written.
Preliminary Exercise 5:
Finger Preparation--Double Stop
b.
mm
1
i ^
103
This is one of the more difficult finger preparation
techniques, yet it is also one of the most used and an
essential part of left hand technique.
Study No. 7
Study No. 17
Shifting
Shifting is a new skill for Grade Four students.
All shifts involve the same basic motion. This motion
is a unit motion involving the arm, wrist, hand, thumb,
and fingers. All these components must move the same
distance during a shift, thus acting as one unit. If a
performer digresses from this concept, it will likely
result in poor intonation. Each shift contains two
mmm
104
notes: a note of departure (the last note in the old
position), and a note of arrival (the first note in the
new position).
Three different types of shifts are called for in
the Grade Four pieces. The first type, in which the
same finger plays both notes is shown in Example 6.
^
i
cresc.
In this example, the F sharp is played with the
second finger on the D string in first position. The E
is played with the second finger on the A string in
third position. This shift could cause difficulty
because it must be executed during a rest. Thus, the
continuous sound usually expected during the shift is
absent. Also, the note of arrival being on a different
string is a complicating factor. These two problems
can be alleviated by using intermediary notes and by
checking the intonation of the shift, as outlined in
Preliminary Exercise 6.
^ t e r ^ J t j J r II J-",' f II
105
In Part a, the second finger executes a portamento
from the F sharp (first position) to an A (third posi-
tion) on the D string. The open A string is played as
a check to ensure that the shift is in tune. Once repe-
tition has achieved a high success rate in reaching
third position, the note of arrival is added after third
position is reached (Part b ) . Here the second finger
is placed on the A string after the portamento, and the
shift is checked for accuracy by playing the open E
string. Then the shift is done silently, as in Part c.
Once this has been done, the example can be played as
written. Study No. 22, from Elementary and Progressive
Studies, Second Set, by Kinsey can be used for practicing
this type of shift.
The second type of shift is when one finger plays
the note of departure and a different finger plays the
note of arrival. Example 7 shows this type of shift.
n 2. X
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Example 8: Anonymous
Brother James' Air,
measure 20
107
finger is then immediately placed down on the C#.
Preliminary Exercise 8 shows a practice exercise that
should ensure a shift of correct distance.
Preliminary Exercise 8:
Downward Shift—Different Fingers
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c. * I 5^
future.
T Vf •MHUUX^^^BBH
108
Ornaments: The Mordent and The Trill
Example 9: G. P. Telemann.
Suite in G - Bourree,
measures 11-12
109
Studies, Second Set, should be practiced, after which
the mordent should not be a problem.
rmtUiij
Most students will know neither what a trill is
nor how to execute it. Thus, it must be explained to
them that a trill is the rhythmic alternation of a
written note with its diatonic or chromatic upper neigh-
boring note. Parts b and c of Preliminary Exercise 9
show two possible trills that could be used to realize
the ornament in measure 11. These should also be prac-
ticed slowly at first to ensure correct placement of
all notes.
pf (Lr s ^
The slow tempo of this movement is an indication
a. b.
Uk
ii J J f f»F S ^ ^
Vibrato
The discussion of new left hand skills introduced
in Grade Four concludes with vibrato. A good vibrato
is a vital interpretive tool, and one which students
are usually eager to develop. Success in teaching and
learning vibrato is partly dependent on patience of
both teacher and student, and in how well the basic
left arm and finger movements have been learned. No
specific examples from the repertoire will be discussed
since vibrato is used in virtually all repertoire.
Individual discretion and imagination is essential for
its use. The reader may refer to the Review of the
Literature (Chapter II) and to the published literature
for sections on teaching and developing vibrato.
5wiB"^^»r
112
b.n
rl/7^rJ'ttr^'li
Note that in Part a, the bow plays a quarter note
on the open E string, then crosses to the open A string
and plays an eighth note, but on a separate bow. This
gives the appropriate rhythmic feeling to the arm for
the string crossing. In Part b, the slur is added.
Once the motion and rhythm are correct on open strings,
the passage should be attempted as written.
Example 13.
y
114
Example 13: Anonymous.
Brother James' Air,
measure 36
Study No. 1
Study No. 2
/
115
Study No. 3
Study No. 17
Study No. 6
Study No. 7
Study No. 8
Study No. 41
Study No. 50
a,
V^'
b
Accents
accents is required.
tJ mf
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116
While in previous grades, accents were required
only on down-bows and always with a rest for preparation,
in Grade Four both up-bow and down-bow accents are
required, and usually without a rest preceding the
accented note. Since the up-bow accent is not as natural
for the arm, the student may encounter some difficulty
in playing the accent, or, the student will play an
accent, but on the down-bows. To acquaint the student
with the bow speed, quick release of pressure, bite,
and balances necessary for a good accent, this spot
should be practiced at first on open strings, the bow
playing a dotted quarter note (down-bow) on the A string,
followed by a rest, then an up-bow open A with an accent.
This is Part a in Preliminary Exercise 13.
b. n c. n >
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117
Bow Distribution and Contact Point
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120
is, the bow moves the same speed throughout: therefore,
twice as much bow length is required for a quarter note
as compared for an eighth note, and three times as much
is required for a dotted quarter as for an eighth. To
ensure correct execution of these figures, they should
first be practiced on open strings, shown in Preliminary
Exercise 15.
Preliminary Exercise 15
Bow Distribution Rhythm
V-H H OH - OH !A -
a. n b. n
• J>J J ^ J J J J :
The Portato
The final new right hand and arm skill is the por-
1 i^ ^ ^ ^
i. a. b. V
When the two notes are even, the rest can be elimi-
nated, and Part b can be practiced until the desired
separation between the notes is achieved. The suggestion
of applying index finger pressure (without stopping the
bow) at the beginning of the second note is sometimes
helpful in achieving the smooth pulsating effect of the
portato.
Conscientious work on the right hand skills required
in Grade Four will eliminate many future potential set-
backs affecting the students* ability to respond to the
interpretive, dynamic and expressive demands of reper-
toire .
T
123
Trouble Spots
I U
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Example 20B - Gigue, measure 9
124
Preliminary Exercise 17:
Change in Finger Placement
b. a Lou-re
Em
As shown, the first finger must be placed silently
in Example 21.
I')! f ^"^
This note should be played like an accent, but
Piano
126
must count quarter note beats during the piano
introduction, listen carefully to the bass line, and
enter precisely on the third beat in measure 4, confident
that the entry is correct. This can be achieved with
repetition. This spot was commented on by all the West-
ern Board of Music examiners as one needing attention.
Finger Preparation
The technique of placing a finger on a string prior
to its note being sounded, or finger preparation, is
required much more often and at faster tempi than the
same technique in Grade Four. If finger preparation is
I
129
not used, most string crossings will sound uneven and
will contain unwanted noises and notes. Three different
types of passages requiring finger preparation occur:
(Da flowing melodic line involving string crossings;
(2) broken chord figures; and (3) stopped four-note
chords.
130
Preliminary Exercise 18: Finger Preparation
Melodic Passages
I T
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b.
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c. z d. ^j^— ^\^
131
sounding of the immediately preceding open D, as shown
in Preliminary Exercise 19.
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132
When unwanted open string sounds are heard, or when
the chord sounds uneven, the use of the routine in
Preliminary Exercise 20 may eliminate the problem.
^m
a. n b.n
J
^
^ i m
#
?
The preparation is done on the note preceding the
chord. Thus, on the first quarter note in measure 84,
the first finger is placed on the string simultaneously
with the third finger being placed on the D string, as
shown in Part a. Once the first finger has found its
spot, the third finger may be released and the second
finger placed on the E string for the execution of the
chord, as shown in Part b. This technique is used only
for practice. Since its continual use may tighten the
left hand, which is highly undesirable, during performance
there may not be simultaneous finger placement. However,
the preliminary exercise will ensure that fingers are
in place before each note is sounded. This is an essen-
tial factor in achieving flowing melodic lines, string
crossings and chords.
Shifting
The second left hand technique required by the pieces
in Grade Five is shifting. While the overall technique
is the same as for the Grade Four pieces, in Grade Five
the shifts must be made in faster moving tempi and with
shorter note durations. Thus, this can be seen as a
developing technique, the purpose of which is to achieve
greater speed in shifting along with maintaining accuracy
in both the shifting motion and intonation. Three types
of shifts are required in the selected Grade Five reper-
toire: (1) shifts involving one finger; (2) shifts
involving two fingers; and (3) shifts in which the note
7
134
of departure and note of arrival are separated by an
open string.
1 iV n
-^B i 4t ^
p:
/
the two notes. This helps the student hear when the
f
135
new note has been reached. Then rhythms are added to
achieve the desired speed, shown in Part b and Part c.
Finally, in Part d, the shift is played coordinated with
a bow change as in the piece. This type of shift may
also be performed downward, as shown in Example 29. It
is important that the unit stays the same in downward
shifts. Leading with the thumb can help in this regard,
especially in keeping the first finger in place. If
the thumb remains behind, the hand will be out of balance,
and poor intonation will result.
cresc^
mmmr
7
136
The C sharp is played by the second finger with
the arm in first position. The D is played by the first
finger with the arm in third position. The transition
from second finger to the first finger must be made
smoothly and at the correct time, in order for the porta-
mento to sound evenly. As shown in Preliminary Exercise
22, the first finger should be kept down after playing
the B in measure 25 and while the second finger is playing
the C sharp. During the shift, the second finger is
replaced by the first.
j Tj O i
In this example, notes played in the third position
and notes played in the first position are separated by
a single open D. The essential third position preparation
note is obtained by shifting to a first finger D on the
A string while the open D is being sounded. The third
finger may then be placed with confidence on the B. As
noted in Preliminary Exercise 23, the preparation note
should be sounded during practice, first as in Part a,
then as in Part b. After a secure shift is achieved,
the preparation note is not sounded, and the passage is
played as written.
ii
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^
XT
^
NT
Additional practice in the shifts required in the
Grade Five pieces may be found in the following studies
7
138
Elementary Progressive Studies. H. Kinsey
Study No. 22, Second Set
Study No. 23, Second Set
Study No. 24, Second Set
Study No. 2, Third Set
Study No. 3, Third Set
Study No. 4, Third Set
Study No. 6, Third Set
Finger Facility
Finger facility is a new technique required for
the first time in Grade Five. In general, finger facility
is required when a passage has a number of notes of very
short duration. The passage may be scalelike or arpeg-
giated or composed of odd intervals. Example 32 shows
a passage where finger facility is required.
7
139
Example 32: J. S. Bach.
Giguetta. measures 1-2
If the fingers lift too high off the strings, they will
I a. 2.
i
^ ^^
C^^rtTh
Notice that the fingers are kept in place on their
140
Study No. 12
Study No. 16
Harmonics
har
a. 3 V^rtw. b. 3
Uk
i^ J <) -IP J j J <j :
mf cresc.
f^SZiM
In this example, the bow must cross three or four
strings on a slur very quickly. The most common problem
that occurs is uneven note lengths, which is caused by
not giving each note an equal amount of bow. Using too
large an arm motion or using too much wrist in the arm
motion may cause variation in dynamics as well as
unevenness. To execute this string crossing motion
successfully, the entire arm, moving from the shoulder,
must simulate an arc, and the wrist must be passive. The
arc begins and ends at the appropriate level for the
beginning and ending string, and must be executed so that
the notes sound evenly. The best procedure, as outlined
in Preliminary Exercise 27, is to practice on open
strings, starting with two strings, as in Part a,
proceeding to three strings as in Part b, and then four
strings, as in Part c. It is important to remember that
a full arm motion must be used throughout if an even
145
a. n
a. n V b.
V n
D. 11 V t:.j-| y^ |s^^
o o o o
skill.
Accents
a.n^ V b.
b. V c. n V
cession .
are accented.
7
147
Preliminary Exercise 29:
Successive Accents
n b.
> > ^
in Example 39.
i m ^^m
n
ik 5
^
the stroke (and thus the speed) and bow pressure are
a. n
Ut Ti m\ I
ii S S 0 S S S 0 ^ s s
Bow Distribution
Careful bow distribution is required in a number
of spots if the correct rhythm is to be easily played.
Two such spots are shown in Example 40.
151
Example 40A: J. S. Bach.
Giguetta. measures 3-4
tip M.
Chords
The final new skill required of the right arm and
3 ^
153
Usually, when a student first encounters such a
chord, he increases the pressure on the bow and slows
the bow down. The result is an unpleasant "crunching"
sound. Another problem is when so much bow is used on
the lower notes of the chord that none is left for the
upper notes. The right arm motion required is similar
to that for slurred string crossings, except that the
arc required of the right arm is smaller in scope and
the bow speed is faster. As shown in Part a of Prelim-
inary Exercise 33, one must first play the lower two
notes of the chord as a double stop with a good sound.
Then the arc is practiced using open strings, gauging
exactly when the upper two notes should sound.
is
f w
The rhythms used in Parts b and c will help in
chords.
/
154
Combination Skills
,f*tr innCn-n.>\Qitjr\\
L,|'*^j'ifTHrh"rf> i f j t ^ a
155
m ^-\
t^—Ik
:?=^
Interpretive Skills
In these selected pieces, three different styles
are represented, each with its own interpretive skills.
In the Giguetta, Baroque style in both bowing and dynamics
must be used. Care must be taken that the bow remains
on the string at all times, with a slight separation
between eighth notes. This is also a good piece in which
to review the form of AABA which should not be new to
the student. The Air Varie. on the other hand, presents
a new form--theme and variation. This is an
7
156
opportunity to discuss the various types of variation
forms and how themes are changed. A more lyric and legato
style of playing is also required in the Air Varie than
in the Giguetta. The student should be able to make these
differences apparent in the performance of these pieces.
The 20th Century is represented by Daussila. The student
thus encounters a textural style and harmonic vocabulary
that is new. Some time may have to be spent discussing
this century and in becoming familiar with the new sound
of this composition. This would also be a good piece
in which to discuss motives, as Daussila (doe-see-la)
is based on the tonic, leading tone, and sub-mediant
degrees of the scale--hence the name which uses the sol-
feggio syllables for those three notes. Grade Five is
thus a grade that broadens the base on which a student
makes performance decisions about his repertoire.
Trouble Spots
There are a number of trouble spots presented in
157
At this spot, the second finger plays G sharp and
then G natural with only one intervening note. The second
finger is almost certain to repeat the G sharp on the
last beat unless it is properly prepared for the G nat-
ural ahead of time. Thus, a type of finger preparation
is used, shown in Preliminary Exercise 35.
M€mplice mf
i semplice mf
f^f^fT^^^l
0^
Example 46
7
159
Example 46: J. S. Bach.
Giguetta. measures 9-10
the dotted quarter note must be played for its full value;
of this figure.
Summary
Finger Preparation
• x
Example 47: F. Fiocco. La Legere. measures 50-54
/
161
If the finger preparation technique is not used in
this example, the fingers may be positioned too late
for accurate rhythm, resulting in uneven notes or
unwanted noises. There will also be many breaks in the
melodic line. In measures 50 and 51, double stopping
with one finger must be used if the string crossings
are to be made without unwanted open string sounds. In
measure 53 double stopping with two fingers must be used.
The shift in measure 52 and the exact double stops that
must be executed are noted in Preliminary Exercise 36,
which shows a practice routine that will help the student
perform this passage evenly and without unwanted sounds.
1 2 3
m
h. 1 -z 3 ^
ji>[ [ p m
Study No. 38
Finger Facility
The second left hand technique that is developed
in Grade Six is finger facility. More rapid movement
of the fingers is required, rapid sequences of triplets
involving string crossings appear in the repertoire,
chromatic changes of finger position are necessary (for
example, a finger playing first in its low position and
/
163
then in its high position), and finally, shifting into
a new position during a passage requiring finger facility
is sometimes necessary. Thus, considerable development
in finger facility is expected during Grade Six. Example
48 shows a passage where all of the facets of the tech-
nique mentioned above are required.
164
Preliminary Exercise 37: Finger Facility--Triplet:
Study No. 1
Study No. 5
m a ' •/,;jfl.i
165
Study No. 8
Study No. 12
Study No. 39
Shifting
There are two new shifting skills required in the
selected Grade Six repertoire: playing in second posi-
tion and executing a shift after a backward extension.
The previous types of shifts acquired in Grades Four
and Five are also required in Grade Six; however they
should not present any problems. Example 49 shows a
shift after a backward extension required in La Legere.
166
the whole arm moves when the first finger plays the C
Study No. 17
Study No. 2
Study No. 4
Double Stops
a.o 1 1
168
the rest, the fingers are positioned for the next double
Study No. 20
Study No. 13
F. Mazas
Study No. 25
Study No. 27
this area.
Spiccato
176
unevenness. If the stroke misses a string, some of the
notes will not sound. In addition, the passage will be
unclear musically. For best results, the arc described
by the bow moves only enough to just clear each string.
A crescendo also starts at this spot, which requires
careful contact point work. Preliminary Exercise 41
outlines a procedure that will help ensure the correct
execution of this stroke.
t^ ^J *'
b. n
I-/
Study No. 3
Study No. 9
The Portato
The portato is not a new stroke for the Grade Six
student. However, two new variations are added to the
stroke: more notes are required on one stroke; and it is
required on a down-bow stroke. As shown in Examples 54
and 55, in some passages more difficult bow changes and
string crossings surround the portato stroke.
7
' " ••*- -.»•»-»•"
178
Example 54: F. Fiocco. Example 55: F. Seitz.
Ln. Legere. measure 55 Concerto No. 2.
3
1st movement,
measure 28
3 retard. '^
sempre dim.
^i^W^ir^
Usually, the dotted notes are not bounced when they
bow very slightly with the hand and fingers, the arm
the string. The bow is lifted with the wrist and fingers
after the first note, and the arm then bounces the bow
Only when this part can be done evenly and with a con-
this skill.
1 n
181
Spiccato after a Slur
nV
182
Combination Skills
cresc
183
more difficult than the interval of a second required
in the Air Varig. In the Concerto M.. . the first finger
must play in both its high position and then its low
position in beat three, and there are string crossings
required in the passage. Preliminary Exercise 34 can
be adapted to this situation, taking special care with
the F natural to G sharp interval and the placement of
the first finger in the third beat, and adding the appro-
priate string crossings to the exercise.
4S^^V4hhHjM
The notes in the first beat of measure 44 are
usually poorly prepared by the left hand resulting in
unwanted notes sounding. Also, there is usually too
little bow left to get a good sound on the open A and E
double-stop, which must be lifted. Preliminary Exercise
45 shows a practice exercise for this type of combination
skill.
184
As shown in Part a, the left hand prepares by
placing the first finger on both G and D string when the
first low A is played. The grace notes and the A-E
double stop are played as a four-note chord, split two
notes (G and D) played in the upper third of the bow
and two notes (A and E) played in the middle of the bow.
Since this is an up-bow, this string crossing is done
in the upper half of the bow. In Parts b, c, and d the
bow arm lifts to finish the stroke. On the first beat
of measure 44, and in the following three double stops,
the fingers must be prepared well ahead of each bow stroke
if the passage is to be clear. The bow strokes should
be practiced on open strings, remembering to execute
the stroke in the upper half of the bow before the passage
is played as written.
The final combination skill required in the selected
Grade Six repertoire is shown in Example 60.
f'ihi'af^
p con grazia
this skill.
Interpretive Skills
Separation of Notes
V n '.
^ ^ i
The eighth notes at the end of measure 16 are markeu
Many students will try to bounce the bow for these notes.
However, the bow is near the tip at this point and must
I
n V
iriTf-T pT9 y p f pTp y ^P I ^
graMtogo.
the end of the stroke, and then playing the next figure
c, if necessary.
The Cadenza
5
v> vr.ltivc
V ^'^' T
189
a. b. c. d.
lation .
p^^^^L
I
190
The Concerto
Rubato
The final interpretive skill required in the Grade
Six pieces is rubato. Rubato is the slowing down or
speeding up of the pulse within a measure to create a
musical or emotional effect. Sometimes this is indicated
in the score, while at other times, rubato is inserted
at the discretion of the performer. Clearly, a discus-
sion of rubato must include how to make the rubato
musical. The rubato must be done with taste, and will
vary depending on the tempo, style, and mood of the com-
position. The rubato cannot be too sudden, or too slow
or lose too much tempo. The Minuet in G is a good piece
n .-s^-sn-w'^^wm,
y
191
in which to study rubato, since its phrases are conducive
to the use of rubato.
Trouble Spots
p/j
^rm
In Part b, appropriate finger placements are prac-
ticed, to help achieve smooth string crossings without
unwanted noises or open string sounds. Then, the rhythms
in Part c are added to the sixteenth note motives in
the example and are practiced to help achieve rapid and
accurate finger movement. Special attention must be
paid to the first finger when it is positioned for the
E sharp, since it is likely to be flat. Once accuracy
and speed have been attained, the passage should be played
as written, using full bow strokes, legato string cross-
ings, and light, flexible finger action.
a.
M^ 'J *'s} A
performance tempo.
i 1 2 1
Summary
shifting.
Finger Preparation
Study No. 19
Study No. 21
Study No. 18
Study No. 24
Study No. 26
Study No. 29
Study No. 40
Study No. 42
k^
r »•' mw'trw^i.^ *^m
198
Finger Facility
199
The following studies provide practice in finger
facility at the Grade Seven level.
F. Mazas
Study No. 5
Study No. 6
Study No. 19
Shifting
There are no new types of shifts required in the
^ ^
1 1
^^^ t^, ,
intermediary note.
Study No. 27
Study No. 29
Study No. 31
Study No. 21
Study No. 22
Study No. 23
Study No. 24
Study No. 3
itm 7
203
Seventy-Five Melodious and Progressive Studie;:^. Op. 36.
F. Mazas
Study No. 7
Study No. 19
Study No. 20
Study No. 19
Study No. 24
Study No. 26
Study No. 15
7
204
Seventy-Five Melodious and Progressive Studies. Op. 36.
F. Mazas
Study No. 28
Study No. 29
Study No. 8
Study No. 20
Bow Distribution
The Grade Seven repertoire requires more advanced
205
Example 71: B. Bartok
Evening in the Village
measures 1-2
wifft^prtssivo
I M %
each beginning note. The last note must be held for the
continued practice
. }
206
Combination Skil1s
cresc.
P r e l i m i n a r y E x e r c i s e 52: Combination S k i l l
208
Preliminary Exercise 53: Combination Skill
.Motive Repetition
Interpretive Skills
Baroque Phrasing
209
Example 74 shows a passaee in .u- ,.
passage in which Baroque phrasing is
essential for a stylistic performance.
210
is reached.
is to be achieved.
211
Example 7 6 : B. B a r t o k .
Evening in t h e V i l l a g e , m e a s u r e s 1-4
vif,e%pressivo
Ornaments
oo
f'''V~r *"
Since these symbols are new. Grade Seven students
Exercise 56.
b.
t=j!.
#
.^^
f = r f J" II r ^f ^ ^
^
213
performed up to tempo.
}
214
Preliminary Exercise 57:
Realization of Ornaments
b.
i )t' r r ^ f r ^p
clarity.
7
215
The following studies provide additional practice
of the ornaments found in the Grade Seven pieces:
Study No. 14
Study No. 15
Study No. 23
Study No. 24
The Sonata
This is also an appropriate grade to discuss the
Trouble Spots
The Martele
The Cadenza
218
Pizzicato Chords
A p i z z i c a t o c h o r d p a s s a g e i s shown i n Example 8 0 .
Example 8 0 : B. B a r t o k .
Evening i n t h e V i l l a g e ,
measure 38 2
z
I
. it
ir^
U
A shift from first to third position, which occurs
after the second beat can be a problem if the student
focusses on the upper notes of the chords. If the stu-
dent's attention is redirected to the lower notes, this
becomes a simple shift, shown in Part a of Preliminary
Exercise 58.
a. n b.
1 . ? *
1
t- 2 1 1 ^^
g± i
4 ^ ^ i •"• i
pixz. arco. pizz. >IZZ. ptzz.
219
student is not getting a good pizzicato sound, Part c
should be practiced to ensure that the right hand is
making correct contact with the strings. If the contact
is good, and the sound is still poor, then the left
hand fingers are likely not being placed securely enough
on the string.
KTempoI.
Z
§
I m =j
sharp and D.
succession.
p. scMerzando
potential problems.
Example 83.
I
a. o 1
J f :|i: ^ c.
im
^
r / * -
Summary
Notes
Summary
225
P^^: , ^
226
227
thought-out system for guiding the musical growth of
students in an all-encompassing fashion.
Recommendations
should continue.
intermediate student.
r ;
230
7. Most of the intermediate level violin repertoire
should be recorded by excellent musicians and made avail-
able to the public. There is a lack of recordings
available to the intermediate student. These are gener-
ally available for the beginning student and almost always
available for the advanced player. This lack, which
causes a serious problem for many intermediate students,
should not be there, especially when listening and emu-
lation is so important in violin teaching.
themselves.
These recommendations, if adopted and subjected to
SOURCES CONSULTED
Articles
231
•jj^w^. X >- •}
232
Interpretation and Left Hand Technique for
Violin and Viola," Strad 88 (April 1978): 1137-1138,
and Strad 89 (May 1978): 67-68.
Books
Encyclopedias
Repertoire
Syllabi
ThiaSMtkm
for Ofnce U M Only
WESTERN BOARD OF MUSIC
Date arr.
APPLICATION FOR EXAMINATION
(a) Use SEPARATE FORMS FOR PRACTICAL and . a.m. . p.m.
THEORY subjects.
SUte which PRACTICAL (Piano, Singing. Violin, No.
etc.)
(b) In Associate grade, state whether examination is
Teacher's or Performer's. Central Office Mailing Address:
Western Board of Music
c/o University of Alberta
Edmonton, AlberU T6G 2E6
Candidate's Name
(Please Print)
Address
Postal Code
Phone No.
Date of Birth
Subject Grade
Local Centre Preferred
Teacher's Name
Teacher's Address and Ph. No.
Postal Code
FEE ENCLOSED
239
;
APPENDIX B
The Western Bo*rd of Music la very grateful for the generosity of the
donors. The majority have kindly expressed their Intention of renewing their
awards yearly.
Medals are donated by the Western Board of Music. Prizes are of money,
books, records or in other suitable fonns. They are given as rewards for good
work of specific kinds.
GENERAL CONDITIONS
The Western Board of Music offers annually a Gold Medal to the candidate
who receives the highest standing (a mark of 85 or over Is required) In
completing the final examination of the Licentiate in Music (L.Mus.). The mark
achieved in the practical examination will be given first consideration.
240
}
Other Instruments - highest mark - 85 or over - Grs. I, II, III - one medal
Grs. IV, V, VI - one medal
Grs. VI and VII - highest mark - 85.or over - medal per grade - per subject.
In the event of a tie, the deciding factor will be the standard of work
and the mark in the complementary subject, e.g., if a tie in the theory
grade, candidates will be judged upon their practical work and vice verr.a.
SCHOLARSHIPS
THE GOVERNMENT OF THE PROVINCE OF ALBERTA OFFERS THROUGH THE ALBERTA CULTURE
DEPARTMENT - $1,400.00.
The awards will be given to students having achieved the highest marks in
the following theoretical subjects:
SCHOLARSHIPS (cont'd)
THE GOVERNMENT OF THE PROVINCE OF ALBERTA OFFERS THROUGH THE ALBERTA CULTURE
DEPARTMENT - $1,200.00 ~ —
Three scholarships, one of $1,000. one of $500 and one of $400 to be awarded
to outstanding Licentiate and Associate candidates in any of the provinces of
Western Canada.
THE EILEEN HIGGIN MUSIC SCHOLARSHIPS AS PRESENTED BY THE CALGARY THEATRE SINGERS
These scholarships (derived from two-thirds of the funds generated from the
investment of the principle of $5,000), are for Calgary vocal students from
16 - 25 years of age who have been resident in Calgary - or an area within 100
kilometers of Calgary - for at least three years. First preference shall be
given to students in Grades VI, Vll and VIII, who have achieved a mark of 80
or over.
The late Dr. Janzen, an alumnus of the University of Alberta, was a dentist
in Wetaskiwin for forty years. He played the trumpet and led various bands
including the U. of A.'s R.O.T.C. and Varsity Bands during the nineteen
twenties. His family have seem fit to give the Western Board of Music $1,000
in Dr. Janzen's name and the terms of the award are as follows:
An award of $200 to provide TWO scholarships - one VOCAL and one for STRINGS:
Three scholarships totalling $400 (one for $200; two for $100 each) to be
awarded annually to promising piano students in intermediate or senior grades -
residing in Edmonton or district.
A scholarship of $300 presented by Beta Sigma Phi (Calgary) for the candidate
who is awarded the highest mark in Grade X or XI piano, violin or singing in
Calgary, with a minimum mark of 80. Preference will be given to a Grade X
student. In case of a tie, the scholarship will be divided.
•
THE RICHARD S. EATON MEMORIAL SCHOLARSHIP
A scholarship of $200 to be awarded for the most musical promise in the higher
piano grades. Candidates for the L.Mus. (Alberta) and the A.Mus. (Alberta)
will naturally receive consideration but the quality of exceptional talent
in other advanced graces will be considered in order to assist the most
suitable student. Preference will be given to a student proceeding to or
attending an institution of higher learning where the student will include
musical studies.
These awards are funded by The Duke of Cornwall Chapter of the I.O.D.E.
of Castor. They shall be given to Western Board examination candidates
who are taught by Castor Music Teachers. Criteria for the awards shall
be the students with the highest marks ( and no less than 65Z) in each of
the following grades:
Piano
Theory
(i) An annual award of $25 and a plaque to the student achieving the highest
mark in electronic or pipe organ, examined in Red Deer.
(ii) An annual award of $25 and a plaque to the student achieving the
highest mark in piano, examined in Red Deer.
THE GOVERNMENT OF THE PROVINCE OF ALBERTA OFFERS THROUGH THE ALBERTA CULTURE
DEPARTMENT - $1,200 ""
TWELVE MUSIC BURSARIES of $100 each to students examined by the Western Board
of Music. First consideration will be given to promising students in advanced
grades »rtio would be assisted in taking a more extensive program of studies.
THE FLORE SHAW MUSIC BURSARY - North side of the Peace River
A bursary of $25 for a promising candidate from Peace River town. This award
is offered by the Peace River Women's Institute.
WESTERN BOARD OF MUSIC BURSARIES IN THE FORM OF REMISSION OF EXAMINATION FEES
FOR PIANO-CLASS STUDENTS " LAAniNATION FEES
For full marks in the Ear-Test and high narks in Sight-Reading along with
general musical ability. The fact that the student is a piano class pupil
must be brought to the attention of the Western Board and should be mentioned
on the application form at the time of registering for the examination.
Two season tickets to the Calgary Philharmonic Main Series concerts on Sunday
or Monday evenings to be awarded t9 a promising student residing in Calgary
or district.
Piano $15.00 for the highest mark of 78 or more in Grades VII and up
$10.00 for the highest mark in Grade VI
$10.00 for the highest mark in Grade V
$ 5.00 for the highest mark in Grade IV
$ 5,00 for the highest mark in Grade III
$ 3.00 for the highest mark in Grade II
$ 5.00 for the highest mark in Grade I
)
Z." 0
(ii) A prize of $30 to a piano student for the most artistic performance
in Grades V and up.
Four prizes totalling $25 for students of the Western Board of Music examined
in McLennan. To be divided as follows:
Two prizes of $10 each are offered to area students achieving a mark of 70
or more.
}
251
* recent addition
** increased in value
r }
APPENDIX G
SELECTED PIECES
Piano
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Copyright, 1937. by the Oxford U n i v e f i i t y Pre*., London. ' " * " * " ^ " " •"•""
N O T E : B R O T H E R J A M E S is the fimilur n . m . by which nuny remembef the late J . m n L « . h Micbtth Bain^inJ thii Air » pcrhipt t h .
motl beautiful of many that came to him ipontancouily. Eatra copi« of the violin pan, fo» maued playini, may be oOiaineA
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, 44 CONDUIT STREET, LONDON, WIR ODE
270
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Rondo.
Oskar Rieding,Op. 22. N9 3.
Allegretto moderato.
Violino.
Allegretto moderato.
Piano.
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(No. 5 of The eight Sonatas or lessons for harp$icfaard)
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HAROLD CRAXTON Dr THOMAS ARNE
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OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, 37 DOVER STREET, LONDON WIX 4AH
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