kind permission from ‘Music Teacher Magazine’
2016-2019 Violin Teaching Notes: Grade 7
A:1 Larghetto and Allegro, Handel
First and second movements from Sonata in A, HWV 361
It is always lovely to have two movements to create contrast and this work is beautiful. Students will gain awareness of texture and style by listening to the whole work (preferably in concert) and any manuscript is a treat to see – this informative one is in the Fitzwilliam museum, Cambridge.
The Larghetto will flow along easily with a flexible and relaxed bow hold and there are some suggested ornaments that can be edited personally as long as they are musically convincing and the pulse is clear. The variety in weight and speed of bow gives true improvisatory appeal here and there is always time to breathe and create space and poise around the notes. The Allegro lies comfortable under the hand and is fun to play. For very quick notes and string crossings, best to use small bows right in the middle while very parallel to the bridge, then contrast this as often as possible with greater bow length on the longer notes. The opening theme can have detached notes to project the upright character and give clarity to the phrasing. From bar 33, the fugal nature is obvious but not all double stops need to be sustained in this passage – accompanying crotchets can be released early to keep the musical lines clear. Dynamics will need to be added extensively in both movements but as the music is broadly in first position with some simple shifts, this would be an excellent choice for a student with greater musical rather than technical skill.
A:2 Rondo, Mozart
Third movement from Concerto in D, K.211
This is bright and sunny music and would be well received in a concerto competition. As in all Mozart, clarity of tone and intonation are important so a student with warm tone who is prepared to work on the detail (in these four pages) will be well rewarded. Listening to various other performances will be an excellent start to help understand the style and the sense of projection, shaping and poise required. With a sensitive pianist, the tone does not need to be forced but the phrases always rounded off. Spiccato bowing should be kept very close to the string and the lifted notes following slurs, close to the hand to maintain control. Feel free to change any bowings to keep the sound as musical as possible – it is very easy to end up in the wrong part of the bow, so tilting in the lower half will enable some quick but light strokes. A useful tip to help flow and refinement is to gradually remove the number of impulses in a phrase to create longer phrase shapes. Dynamics are needed throughout to highlight the climaxes and playing the triplets in B.76 – 81 with different rhythms and a flexible right wrist will iron out any misplaced bumps. The cadential moments (b.39 and 141) need a feeling of improvisation but notes can be personalized stylistically while the final chords can be spread to create a flourish!
A:3 Allegro, Bach
Second movement from Sonata in E, BWV 1016
This is a lovely sonata and the energetic character is engaging. Mostly quavers in 2/2 time the pace is not too challenging but a good sense of key is essential to keep the E major tonality in place. It is always a danger with four sharps for the left hand to creep upwards so marking specific places to double check against open A and E strings is useful while learning.
Articulation and dynamic shaping will need to be added eg in the theme, consider separating the minim and all crotchets to best create a clear two bar phrase. The violinist will benefit from knowing the piano part well and working with the backing CD or Violin Practice Partner will be invaluable in learning about ensemble and balance. There is only one awkward passage from b.87-90 where neat bowing while keeping as many fingers lightly on the string as possible, might help block shifts and intonation.
A:4 Adagio and Allegro, Montanari
1st and 2nd movts from Sonata No.2 in D minor
This work might be less familiar but it is definitely worth a listen as the music is wonderful. On the page, the Adagio looks black but it is a beautifully florid movement and the Allegro flows well as the violin line moves over steady (easy) accompaniment. The few chords in the Allegro will need clear tuning and it is worth removing any unwanted impulses in the passagework to give the illusion of a faster tempo. Keeping as many fingers as possible lightly on the strings will give security in intonation. The shaping of the melodic lines is crucial and much can be made to reflect the harmonies, but it is not too challenging technically and is gratifying to play.
A:5 Air varié, Rode
Omitting Var.2. Classical violinist, by S. Nelson
In the classical tradition, the opening Andante has a beautiful melody with a few ornaments that will need careful timing to incorporate them smoothly and musically. Variation 1 and 4 will be fun for a player who moves easily around the violin – there are a couple of high position bars and ‘grace-notes’ are quick in scalic runs. A row of trills is less daunting as they have accents, which give them impetus. With an easy piano accompaniment, certain sections of this piece are an example of how, with a little imagination, scales and arpeggios can be turned into great music.
A:6 Prelude and Corrente, Vivaldi
1st and 2nd movts from Sonata in E minor, F.X111 No.57, RV 17a
Choosing the right tempi is always crucial and can vary as long as the music is convincing. The opening Prelude can have a luxurious sense of space and adding dynamics will give architecture and overall shape. The final note needs to be sustained to link the movements well. Both movements are technically dependent more on the right hand (for shaping and bow control) than the left. The Corrente will need to be mostly bowed in the bottom half to create the lightness – contrast that with full bows at times to give longer phrases. Playing repeated phrases on or off the string can create stark dynamic shaping while keeping the dance element moving is key.
B:1 Introduction and Polonaise, Bohm
No.12 from Arabesken
This is a much loved competition winner as the expressive Introduction is contrasted with fireworks in the Polonaise. Played at a moderate tempo, the romantic quality of the opening is luxurious. It flows easily with good bow contact, broad strokes and vibrato. As a useful game, exaggerate all the final notes in a bar to check they have enough sound – they are often slightly clipped in practice without a piano and therefore performance. That sense of luxurious tone is what creates true refinement. The imploring detaché bowing is stylistic and bow division should not be mathematical! The spiccato from b.30 is a bridge passage and the bow can gradually become more on the string – worth noting where the piano enters here as the interjections can be delayed to add suspense. Finally, the Polonaise begins and the initial chord can be played with an up-bow to add vitality and a clearer landing on the octave. The harmonic (b.36) helps the E ring out but a lifted bow to create the short note is key. It is worth grading the dynamics overall as there is much repetition. The final phrase can have exaggerated tonal shaping (diminuendo in b.94, crescendo in .95) to lead to the dramatic chords and huge applause!
B:2 Allegro, Burleigh
No.4 from Southland Sketches
This is a joy to play and the composer’s love of spiritual songs can be heard in the melodies. A lively opening where flexible right fingers and wrist will be useful for the three up-beat semiquavers, played near the heel and off the string. If this proves tricky, they can be separated but kept close to the string. Good rhythm is needed to keep the songs flowing at the quick pace and even in the ‘meno mosso’ middle section, there are quick bow changes for the syncopations. Tucking some bows in following tied notes might ease things and fourth position is useful in b.37 – 39.
There are a few octaves towards the end, but once this piece is learnt, it should be robust and charming in concert.
B:3 Souvenir, Drdla
This piece needs to be heard before playing, as the sheet music does not give many clues as to how wonderful and soulful it is. Kreisler and many other great violinists have recorded it and to capture the style and sense of space, the genre needs to be assimilated first. An experienced performer will relish this salon piece and take time frequently. The slow and light slides are many and coordinating the shifts (sometimes on the upper finger to give a more romantic effect) with bow control is gained with careful use of bow division. Imagining a helium balloon under the right arm to give an easy lift with a tilted bow will help create the right tone. Add a little warm vibrato and the style will start to emerge. There are a few straightforward double stops in the livelier section with some work need on the final line to keep the melody gentle in the string crossings. A gem!
B:4 Mazurka, Elgar
Ten Pieces for Violin, Vol.1
The opening brilliante indication says it all! For a diligent student who is an extrovert, this may be the piece that will ignite them. Full of charm, it is a virtuosic work with much to be gained technically by performing it repeatedly. There are a few very high phrases so keeping the violin steady (not a moving target) with a light bow and flexible wrists and elbows will start to give the ease required. Chords are slow and generally, taking generous amounts of time musically will help convey the style. A legato passage in the middle of the gentle gymnastics is an opportunity to both sing and relax before the final flourishes. This is an amazing piece in the right hands.
B:5 Romance oubliée, Liszt
S.132ter
This work is sublime and a confident and experienced violinist will enthrall an audience. It opens with one of two cadencial passages where the solo line is lyrical and depends on warm and varied tone for its success. There is nothing technically too challenging in the piece but the qualities of poise, musicality and tonal colour is where the interest lies. Knowing the piano part is critical for latter rests and arpeggiated chords. It ends with high, sustained pp notes – focus on shallow breaths and a parallel bow, not too close to the fingerboard (where it can bounce under pressure) to sustain the right effect.
B:6 Allegro brioso:No.1 from Spanische Tänze, Moskowski
Op.12, arr. Scharwenka
A lively dance movement, this piece depends on a good spiccato for its verve and energy. Chords are played loudly to create drama and the sections are happily repeated. The middle section (from B) is more lyrical and the whole piece is straightforward technically once familiar. It is worth listening to other pieces in the genre to inform style eg. the middle piano chord in the opening is usually ‘held’ to create tension.
C:1 Prelude and Waltz, Arnold
No.1 and No.3 from Five Pieces, Op.84
These two pieces are a fantastic contrast and offer excitement and musical variety. Both quite short, they might be ideal for a student with limited time. The piano part is integral and working with the CD or ABRSM’s Violin Practice Partner app will make sense of the whole piece and cut down on rehearsal time.
The Prelude is fundamentally quick and a player with good shifting and confidence in the higher positions will find this easy. With clear dynamics and rhythm, once the few slides are added for drama this will ready! The Waltz looks simpler but needs much more care musically to create the right effect. The shifts need to be gently timed and just audible to keep the thread of melody clear.
C:2 Rojo y negro, Gallo
The red and black of the title are associated with the tango and this element is strongly projected in the music. A clear, but not too quick, pulse is necessary to replicate the dance. Watching real tango dancers with elaborate footwork will give clues as to the pace. This piece is huge fun to play and the few technical challenges are worth the effort. There is a ‘whip’ in b.7 which is played as a high slide – a down-bow gets the right sound while getting the bow in place for the next bar. The piano part is not quite obvious on first hearing in b.6+7 and 131-134 so slow and fast work is needed with the backing track. The long phrase mark in b.122-128 is not a slur and bowing is normal; the penultimate bar is a long slide though and the bow should be sustained until the top note is reached. Neat bowing in the lower half is required for the semiquavers but often fingerings can be simplified to minimize hand movements eg b.8 & 16 can be in first position, b.9 in half position from the first Bb note. Great fun in performance!
C:3 Gavotte with Two Variations, Stravinsky
No.4 from Suite italienne
This is a much loved piece and its singing quality is memorable. Each section has a different tempo and needs advanced planning so things don’t start too quickly. Listening to the original version or watching the ballet will inform things generally. Think pure, classical tone and the music will do the rest. Creating space (lift the bow off the string) at the ends of phrases is useful and the trills and turns can be bright and fast. Second position might be useful in B.37 depending on 4th finger speed and the lifted up-bows in the lower half are lovely in Variation 1. The passage from b.43 often starts well but the bow gradually creeps towards to point, losing control of the short notes, so lifting the up-bows to the same spot each time is a skill worth refining. Overall, a wonderfully flowing piece with much to enjoy.
C:4 Processional:No.2, Bloch
From Suite hébraïque
This well known work is full of passion and commitment. A strong tone and ability to truly project in high positions will give the right effect. There are some octaves where playing the lower note more strongly will aid tuning and the chords will need to be smuggled in right at the heel of the bow with firm fingers. Intensity and drama are needed right from the start so slow bows, close to the bridge with a range of vibrato width and speed (depending on high or low notes) will project this fine melody right to the sustained and very long final note.
C:5 Cantabile, Kresimir Dębski
Observing quasi cadenza
The jazz element here will appeal as the music is so attractive – it has a relaxed feel and the melodies flow gently. Initially this might not appear technically challenging for the level and then the high octaves and chords at fff arrive followed closely by a short, but intense cadenza. For a well set up student who is short on time, this will be a fantastic choice!
C:6 No.2 from Preludes, Gershwin, trans. Heifetz
Upper line only in octave passage
This famous tune has been arranged wonderfully for violin and it lies comfortably. Smooth slides and a sultry tone are required to create the mood. Only the upper line is needed in the octaves and 5th position is often used. There are a few double stops and if the fifths prove tricky, try putting a finger across both strings with an inverted angle of the knuckle to give better tuning – otherwise try rotating the angle of the left elbow and replacing the finger tip more on one string than the other. The moving and melodic lines in the double stops need to be more projected with the bow and sung out. This is a gorgeous piece and well worth recommending to the right student.