kind permission from ‘Music Teacher Magazine’
2016-2019 Violin Teaching Notes: Grade 6
A:1 Preludio, Corelli with embellishments by Geminiani
First movement from Sonata in A, Op.5 No.9
This work is a joy for a student with a light and flexible bowing arm. There are two lines in the violin part: the lower line is to be played first and then the top, embellished line on the repeats. The A major key lies comfortably under the hand and although some shifting is useful to sustain the melodies on one string, it can be minimized with good bow control and a reasonable instrument. It is worth listening to other pieces in the period and Andrew Manze, among others creates a deftness that is engaging. The right hand speed and weight needs to be well planned to add that sense of improvisation needed – allowing the bow to lighten on the embellishments creates just the right sense of poise and calm required. As usual, the fingerings and bowings can be changed as long as the musical outcome is convincing. As with most early music, there are few dynamics, so best to add these in both parts to reflect the architectural character of the music.
A:2 Scherzo and Trio, Beethoven
Third movement from Sonata in C Minor, Op.30 No.2
This is a lively movement and a treat to play a Beethoven Sonata at this level. It opens with the 8 bar theme on the piano, so planning how to stand and relax while holding the violin and bow and listening will give confidence in performance. Spiccato bowing is needed and keeping the bow close to the string will give a rounded tone. It is always worth playing with the bow firmly ‘on’ first, to help relax the hand and gain control. Otherwise, it can sound too ‘splashy’ under pressure. Listening to other performances will give an aural image of clarity and ensemble – when does the piano need to penetrate and where are the strongest phrases or the climax? The Trio offers a little legato that can be explored fully to add contrasts – use as little bow as possible so the following quavers can be off the string in the middle. There is one high passage (6th position) towards the end of the Trio but it lies well and there is time to get there. This is a lovely piece for a rounded musician willing to work on detail.
A:3 Allegro, Locatelli
Second movement from Sonata in D Minor, Op.6 No.12
An energetic movement that is full of character and drive. The articulation is the key to success and starting the piece with a lifted up-bow might start things off well. Syncopations can all have slight gaps between notes to add style and the shaping is fairly obvious – always worth writing in lots to keep it flowing and eyes moving forward. For example, Bar 4 could have up bows on quavers 2,3,7 & 8 to keep the legato notes on a more relaxed down-bow. The musical outcome is what the examiner is assessing, so changing things to enhance the effect is sensible. There are a few thirds, but leaning on the main beats with the bow will create a good effect (and minimize any discrepancies in intonation). As with all the pieces, playing them with the piano part with ABRSM’s new Violin Practice Partner app will help give security and minimize rehearsal time.
A:4 Allegro, Bach
4th movt from Sonata in B minor, BWV 1014
An excellent choice for a student who has a warm and relaxed tone and can phrase musically. There is very little necessary shifting involved in this bright movement although the occasional 2nd position is helpful to avoid unnecessary string crossings. It is worth adding extensive dynamics to both violin and keyboard parts to give structure. Playing quavers in the top half of the bow, with firm contact will give just the right tone while semiquavers can be much more legato in the middle with same weight of attack but varying length depending on volume. Slurs may be added and the final trill can begin slowly on the upper note to add style.
A:5 Allegro, Mozart
2nd movt from Sonata in G, K.301
This Sonata movement doesn’t need to be played too quickly to convey the character and it will be a treat for a duo with time to plan the shaping. The theme is charming and the phrases can maintain line and flow while slightly clipping the ends of slurs, for true classical effect. Bowings may be altered as long as the musical direction is convincing. The ‘runs’ that look tricky actually lie easily under the hand but there are moments when quick and inaudible shifting will be needed so smoothness is useful. Making the difference between melody and accompaniment is a skill worth developing here. The short ‘minor’ section has quick trills – not many oscillations are needed, but a fast, light bow stroke with a small gap after the note will create lift and energy. This is an excellent choice and worth listening to the whole sonata.
A:6 Adagio and Allegro assai, Telemann
1st and 2nd movts from Sonatina in A, TWV 41:A2
The Adagio flows well with arpeggiated chords at the end of sections – good counting is initially needed until the keyboard part is familiar. A light bow hold, lots of open strings and shaping the trills by starting them slowly will give a stylish effect. The Allegro is fun and has a little double stopping so curled left hand fingers will be useful while adding a firm bow stroke, right at the balance point to encourage exaggerated shaping. Students always enjoy having contrasting movements, so this is a lovely choice.
B:1 Intermezzo, Mascagni
From Cavalleria rusticana
This is a wonderfully emotional piece for a student who can play expressively with warm vibrato and a range of dynamics. Although at first glance, it looks simple and only one page long, the control and variety of bow speed, point of contact and width and velocity of vibrato is crucial for its overall outcome. The opening is ‘pp’ so starting with a tilted bow, light weight and a singing vibrato while remembering to take small breaths to minimize tension, will help the flow. Gentle and slow shifts are a feature to keep the mood and it has an octave phrase in 5th position that is quite simple – best to play louder on the bottom note and float the top to keep the balance and intonation secure. Lots of time can be taken musically and it is straightforward rhythmically. Definitely worth listening to a full orchestral performance and understanding the story to gain true insight into the music.
B:2 Rondeau, Paganin
Third movement from Sonata Concertata
What fun to play a work by Paganini! This is one of his early works and not full of virtuoso techniques but clear musical interplay instead. The original version for guitar and violin shows the lightness and frequency in passing the material back and forward. The piano part has the melody in the opening and both musicians will need to agree on the phrasing – especially important to exaggerate the shaping in the accompanying part. Keeping the bow very close to the string will help the bouncing quavers and in the development, saving bow on the slurred notes (bars 43 – 46) will keep the staccato precise. A flexible right hand wrist and fingers will give control and the ‘bite V gentleness’ needed. There is a little 4th position but in A Major, it is fairly easy for the left hand. Marked Allegretto, it is easy to start a little too fast and bars 10 and 12 need clarity in the quaver rest for best ensemble.
B:3 Idylle, Elgar
Op.4 No.1
A stunning piece for a refined musician, it is a joy to sing the long melodic lines. The quality of performance depends on a secure ability to shift slowly and smoothly while measuring the bow distribution, weight and point of contact. Scales up and down one string (keeping the violin still) will help prepare things and using the upper finger for some shifts will give a more romantic flavour eg. b.13. There are a few harmonics where clean strings, parallel bows and a little fresh rosin will help projection and allow the left hand to release any tension. Having the confidence and experience of taking time musically under pressure will certainly pay off here and amply reward a well prepared student.
B:4 5th Air varié on a Theme by Weigl, Dancla
Op.89 No.5
This is a virtuosic piece that will be a great competition winner in the right hands. It has contrasts of long legato phrases and fireworks. Skills required: expressive tone with vibrato, scalic position work, a reliable spiccato, a little ricochet, easy left-hand pizzicato while maintaining a tune with the bow and finally, dramatic chords. Definitely worth developing the skills as they all contribute to an excellent piece that can be performed with enormous panache.
B:5 Study in C, Mazas
Op.36 No.7 (accompanied)
How wonderful to have an accompaniment to this lovely study! For a serious student this will be an invaluable book and for a player with a melodic interest, this piece is a joy to play. With its rich, deep sonority and clear shaping, the music flows easily. Smooth, slow shifts are frequent and time can be taken on the ornaments so they sound expressive rather than mathematical. Clear intonation and good bow division will give polish. Then the rest of the book awaits….
B:6 Allegro molto, Schubert
1st movt from Sonatina in D, Op.137 No.1, D.384
This is a wonderful, sunny piece of music and is full of variety and interest. The interplay with the piano is crucial and both players will need time to learn where the lines overlap. The opening is in unison so careful tuning is essential (tune to mf dynamic to give greater reliability). The melodies are comfortable to play and there is a little shifting, but this work is for a refined musician with warm tone, clear tuning and contained vibrato.
C:1 Este a székelyeknél, Bartók
No.5 from 10 könnyű zongoradarab
Translated as An Evening in the Village, it is familiar as a piano piece and this arrangement is by the Hungarian-born violinist and teacher Fulep. An emotive piece and the violinist will need good leading skills for the four tempi and mood changes. Solo violin starts the Lento phrases and the piano joins the long note on the third beat initially, unlike the similar section in bar 21 where it enters on the second beat. The later pauses add mystery and space and are a good opportunity to draw the audience into the mood. The contrasting first Vivo passage has light quavers and a little 5th position with a G.P on bar 20 where the tension should be held. The second ‘vivo’ is pizzicato chords that are fun and mostly ring easily although worth putting some signals over the bars for the changes – it is surprisingly easy to miscount. The final third position pizz are a little awkward to get to ring and moving the left elbow around might help the tone on the bottom C sharps. The final Lento has easy time changes so no pauses are needed but good rhythm, relaxed bow changes, singing tone and a parallel bow are required, especially on the final first position harmonic in ppp to end the performance. This is a great piece for a student with an extrovert character.
C:2 Theme from Ladies in Lavender, Hess
For a player with good tone and musicality, this piece will be adored. Joshua Bell originally played the soundtrack on the movie and it is well worth a listen. A singing quality, warm vibrato and long phrases will help the music soar. There are several small shifts to keep the melody on one string so a flexible left thumb and good aural skills are essential. Bow division and weight are worth spending time on and having enough bow at both ends will give that sense of luxury and refinement. It is always worth playing a slow piece at an even slower tempo to check where to save and give extra control under pressure. ABRSM’s new Violin Practice Partner app is useful, simple and fun and even teenage students enjoy changing the characters on screen! The piu mosso is more dramatic but time can be taken in bars 33 -34 if enough tone and power is built up in advance. With smaller violins, it is worth starting the runs in a low position to get clearer tone. Bar 38 needs to have a well prepared left arm rotating around so the top A is singing. Try playing all the A’s on the violin and matching the tone, then playing the slur but reaching a semitone higher each time with the top finger so the hand learns to ‘measure’ the space and stretch as early as possible. Similarly for all shifts but particularly the very high ones eg. b.56. The final two notes are an octave slide to a top D – bottom note is most comfortable on a slow down bow for the diminuendo, then slide so the top note arrives on the beat on the up bow, then change to a down calmly before the heel is reached with a very tilted bow. Both notes will give more tone and vibrato on a third finger.
C:3 Black Eyes, Trad. Russian
Arranged by Polly Waterfield
This piece is full of passion and variety and the opening cadenza is for a student with a great sense of drama. I usually change the bowings to give more space and the top octave slide is optional – marks will not be affected in the exam either way. The end of the cadenza can finish quietly or loudly and it is fun to experiment with both. A slow slide between the pause notes will give just the right effect and lead the pianist in to the slow rubato tune. The piece has the same melody in different octaves, with tremolo or double stops and the drama and tempi increase as the music is unfolded. The first phrase is rubato with rumbling on the piano and all on the G string but from b.10 the piano has rhythm so the violinist needs to play with more pulse while listening. From b.18 it gradually moves into a clear waltz and fingerings can be changed from b.37 to keep the same pattern as from b.88. The tremolo section can be played down the octave, right at the tip of the bow with varying degrees of speed and length to match the contours of the piano line. Some double stops later are straightforward but b.95 can have separate bows to aid the slide and give an up-bow on the final slur to help project the harmonic.
C:4 Elegy, Lane
This may open a whole new world to a player who is passionate and expressive. The violin lines are beautifully written and lie easily; they are best played with varied vibrato, slides and sustained bows. There are a few high notes so a new E string might be worth the investment a week before a performance (while keeping the bow extra close and parallel to the bridge) and the ending has double stops that are easy for the left hand but need controlled contact with the bow. An absolute gem!
C:5 No.1 from Five Madrigal Stanzas, Martinů
The notes are straightforward here and success and interest depends on using great expression and taking time musically. The time changes look a little worrying, but they are very easy to feel and settle well. Good rhythm following tied notes will ensure ensemble as the piano line is more continuous and the violin player needs to fit in. The range just touches 4th position while warm tone and imagination will create just the right effect.
C:6 Apanhei-te, cavaquinho (violin melody), Nazareth
From the Latin-American Fiddler, arr. Huws Jones
This is a fun piece and the Latin-American genre is effectively conveyed. Well written as always by Huws Jones, stark contrasts and a flexible right wrist will keep the music moving along fluently. There are lots of quick string crossings so narrowing the gap (keeping the bow close to both strings) will keep things smooth. Stamina will need to be developed and choosing the right tempo is crucial, ie. not too fast. This piece has the added bonus of having an easy piano part.