kind permission from ‘Music Teacher Magazine’
2016-2019 Violin Teaching Notes: Grade 8
A:1 Adagio, Bach
First movement from Sonata No.1 in G minor, BWV 1001
Unaccompanied Bach is core to advanced violin repertoire and this movement is one of the most iconic pieces. The broad chords can be seen as pillars with improvisatory phrases in between. Starting with good stylistic awareness is important and there are many versions from authentic performances on gut strings to more romantic renditions. An examiner will be happy to hear any version as long as it is musically convincing.
It is useful to start with the student playing the melodic lines while the teacher adds the chords. The blackness of the two pages looks complicated but once the rhythms are sorted, the music flows within a consistent pulse. Think in 8 initially with a metronome and then flow in four while removing any unwanted impulses on the quaver beats. A lighter bow for the quick notes while slowing up the bow speed so there is always extra left for the final notes and string crossings, is a good policy to add refinement and control. Smuggling in the chords with very controlled and rounded right fingers and wrist will avoid any bumps and keep the line moving smoothly. There is always more time available musically than we think in performance and practicing slow shifts and left-hand finger changes will keep things calm. It can be wonderful to play an unaccompanied piece and a student who is interested in texture and harmony will have the added bonus of not needing rehearsal time with a pianist. For interest, it is worth practicing in different acoustics and in a light and dark room to truly listen to the details and measure the effect on timings and tempo.
A:2 Allegro moderato, Haydn
First movement from Concerto in G, Hob. VIIa/4
What a cheerful concerto!
In the comfortable key of G major, it uses quick notes rather than high positions for its excitement. Good awareness of the piano sections, when to enter and how to hold the violin and bow in the rests are essential – there are helpful piano cues in the violin part. Playing in an extrovert style in a concerto is a good skill and the music projects easily as it is often on the top two strings. Clipping the bow after the two slurred notes while maintaining the overall phrase shapes (eg. b.21) can be applied throughout and longer slurs can be made in bar 23 & 24 to keep the bow flowing easily.
There are a few marked dynamics, but the character would benefit from greater contrasts tonally to convey it clearly. Always worth exaggerating the variety as it tends to get lost easily under pressure. Bars 34 & 35 begin the same so varying the bowing style is stylistic – one with crescendo and separated bowings perhaps? Notes with ‘daggers’ (b.28-30, 92-94) are ON the string in the upper half with a quick accent with the right-hand first finger; triplets in b.98 & 99 are more relaxed and only the top note needs to be prominent. The double-stops from bar 61 are fun once the left arm is well under the violin so fingers are fully on their tips. A final cadenza is offered at the end but of course, may be personalized if desired!
A:3 Preludio and Corrente, Vivaldi
First and second movements from Sonata in C minor, RV 6
An arresting first movement and then much to enjoy in the shaped second movement. Both will need extensive added dynamics. Depending on taste, the Preludio can be played either ‘on’ the string with hooked bowing or ‘off’ at the heel. If playing ‘off’ the string, keep recovering the bow to the same point near the heel each time and if playing ‘on’, watch that the rhythm at the point is as precise as that of the heel – the string crossings are much bigger at the point and can gradually slow things. Keeping the rhythm tight and alert is the important element and the footnotes tell us that loose semiquavers can be shortened to keep the articulation uniform. Bar 14 has the option of fewer up-bows and four seems to give the right effect.
The Corrente is relatively straight forward and bowings can be changed to suit the desired phrasing. Practicing with different rhythms in a variety of tempi will give more control in both hands. The three note chords from bars 25 & 105 do not need to be precisely triple stopped, but can be spread or even rhythm changed to create a more dramatic and authentic effect. Any student will love experimenting with the bow to see what is possible within the pulse.
A:4, Concerto in A minor, Bach
1st movt, BWV 1041 (violin to play in tuttis)
This Concerto will be regular repertoire for many teachers as the music is so tuneful and students love it. With centred intonation and a reasonably flexible right wrist, the passages will flow easily. It is a lively piece but does not need virtuosic technique for its success – good shaping with clearly articulated bowing (mostly in the middle) will create energy. Experimenting with bow division and speed in bars 6 & 19 will highlight the need for lightness; a tilted bow will help avoid unwanted accents on up bows. Quick shifting and string crossings from b.45 can be eased with work on rhythms. This is always popular in festivals and with youth orchestras.
A:5, Adagio and Vivace, Corelli
1st and 2nd movts from Sonata in G minor, Op. 5 No. 5 (observing repeats and with Roger’s embellishments on the repeats in Adagio).
If a student liked the Corelli at Grade 6, then they will love these movements. The simple lines in the Adagio are embellished on the required repeats with wonderful flair and imagination. It is important to listen to performances of this work to gain insight into the style and the ABRSM recording with Pavlo Beznosiuk gives one version of the written embellishments while giving the feeling of improvisation. Removing weight from the tone on the quicker notes while using vibrato as an ornament will be a good start. The Vivace is just wonderful! There are several double stops but they are often helped by being staccato; some quick string crossings to create harmonies on repeated chords and the final bars can have wild flourishes as students and audiences will love the drama.
A:6 Sonata in D, Op. 5 No. 4, Geminiani
Complete and observing repeats
The variety and possibilities these movements offer will appeal to many players. The contrasting characters can be projected with precise bow control and quick left –hand finger action. There are some fast passages where relaxed technique and a sprightly approach will create the melodic lines while articulating the detail. Always worth listening to several interpretations but any convincing musical approach will be appreciated by an examiner.
A:7 Sonata in Bb, Mozart
Largo–Allegro: 1st movt from K. 454. No. 13
This Sonata opens with a short but effective Largo where the violin chords can be rounded and expressive as part of the melody. Accompanying double stops can have brushed bow strokes and shape to match the piano line. When choosing the tempo, aim to keep it flowing in a slow 4, rather than in 8 quavers. The Allegro is lively and needs to have sparkle while interaction with the piano is sympathetic. Trills can start slowly from the upper note and ‘turns’ melodic to keep the singing line moving along. Having light up-bows and keeping the spiccato notes close to the string will help reduce unwanted impulses.
B:1 Allegretto grazioso, Brahms
Third movement from Sonata in A, Op.100
This famous movement will be a joy for players with a warm tone and good facility of moving around the instrument. Listening to several versions of the whole sonata will inform style and context but nothing can replace the insight gained by attending a live performance. The ‘split-common’ time signature gives us helpful information about tempo and reducing unwanted impulses. The violin leads the opening but the piano part is always entwined so good knowledge of both parts and how they interplay is essential and adds to the interest of learning such a work. Different colours can be created in the violin part depending on the harmony eg bars 16 & 17 can be mp while b.18 & 19 can be darker and p, played with a heavier bow stroke but further away from the bridge. Fundamentally bright tone and good control of long bows is useful for the first two pages but by bar 90 the character has evolved and the width & speed of vibrato as well as the point of contact & bow weight can all be more varied to create professional polish. There are some accompanying passages that need to be heard but undulating under the piano line eg. B.49 – 52. Slow shifts and a passionate approach will help convey this glorious music.
B:2 Scherzo, Tchaikovsky
No.2 from Three Pieces, Op.42
This is the second of Tchaikovsky’s three pieces and it takes the form of a perpetuum mobile and trio, as the footnotes helpfully tell us. A clean spiccato with a relaxed right hand, kept close to the string is the main skill here and is used for three of the four pages; the dynamic shaping is clearly printed. A tempo is suggested but it can be slightly altered as long as the musical effect is maintained. Although one tempo will suit one bow arm in one acoustic on one particular day, it is worth practicing at different speeds so that nothing can hinder the performer. A lightness of stroke is contrasted against stronger passages and ensemble is crucial to maintain deftness. The trio section is lyrical and with four flats in the key, keeping the G- Ab and C-Db semitones close refines tuning.
B:3 Obertass, Wieniawski
No.1 from Two Mazurkas, Op.19
This is a virtuosic piece for a true extrovert with good technical ability. It looks more difficult than it is and several sections are repeated. The initial chords are quite easy for the left hand and just require a flexible right wrist to rotate the bow to catch the bottom strings. Time can be taken in bars 12 – 17 and 79 – 84 to convey the idiom easily and there is no piano part there. Good leading in bars 18, 28, 36, 47 & 55 (take time on the top harmonic), will be appreciated by the pianist! There are several slides to harmonics and preparing early with a rotated left arm and firm violin will help. Timing the slides with good bow contact at the bottom and top, while lightening both hands and slowing the bow during the actual shift will develop reliability. As usual, once the harmonic has been reached, clean strings, fresh rosin and a parallel bow will add sparkle. The double-stops in bars 51 and 59 can be fingered in fifth position on the A string against an open E string if preferred. This is a fantastic piece and with some careful and slow work to get everything in its place, it will be adored by players and audiences alike.
B:4 Allegro, Sonata in F (‘Spring’), Beethoven
1st movt from, Op. 24.
This is a well-loved Sonata and students will enjoy sharing repertoire with top soloists. There are many easily available recordings and watching a live performance will give useful insight to a learner. A singing tone and integration between both instruments is fundamental to convey the texture of the work. The playing needs warmth and ease while creating long lines with sustained bows – adding crescendi on minims in the opening should give the right musical direction. Take time at the ends of phrases to shape them clearly and give space – although the pace is brisk, it must not sound hurried.
B:5 Schwedische Tänze, Bruch
No. 13 and No. 14 and No. 15 from Op. 63, Vol. 2
These dances are huge fun for a player with an extrovert character and the ability to lead changes in mood. All three need to be played and the variety offered is useful for a student who may be busy academically as they can be learnt separately. Confident intonation high on the E string, good spiccato, quick arpeggios, large shifts to the top, rounded chords and projected tonal passion are the required skills to fully convey the genre.
B:6 Allegro, Elgar
1st movt from Sonata, Op. 82
A pair of experienced hands with a refined technique and rounded sense of musicianship will relish this movement. It is wonderfully lyrical with a range of tone from almost translucent to full projection. The momentum is self-propelling and the rhapsodic lines seem gloriously endless. Smooth shifts, warm tone high on the E string and time to rehearse with the piano will help give a polished performance of this great work.
B:7 Allegretto poco mosso, Franck
4th movt from Sonata in A
A sublime work and the first three movements should also be played to understand the context of the fourth. Students will love this work as it sounds much more demanding than it is and the passionate high phrases are a joy to project. Most of the work is legato and the bow weight, distribution and pressure should be considered so there is enough room to change both bows and strings luxuriously; separate quavers should sound the same no matter where they fall in the bow. Be wary of artificially adding lower dynamics to create greater drama in the crescendi – sometimes they can appear manufactured.
C1: Hoe-Down, Copland
From Rodeo
This is a fun piece for a confident performer who loves drama. There are a few high passages with 4th finger extensions so having long fingers will prove an asset. It is highly rhythmic and the ‘off-beat’ bars need to be clearly felt as the violin part bounces off the piano line. A good piece to play with the app Violin Practice Partner, as stamina needs to be developed slowly. A flexible right wrist will be good and starting the phrases from the string will give bite and articulation. The entries from bar 99 onwards can begin with very little bow and a quick crescendo to get them moving straight away. Dynamics can be planned to give maximum contrast.
C:2 Romance, Helen Grime
This is a wonderfully lyrical piece for a player with an interest in colours and expression. Written in 2003, the music constantly evolves and rehearsal time will be needed to fit both lines together reliably. The music opens with a little solo violin and the details of tonal production and effects will be amply rewarded. Experimenting with points of contact and vibrato speed and width will give a wide range of options. The rhythm will need to be precise and there are a few double stops and high intervals that will need precise pitching, but it is not technically difficult and once known and the music will carry the performance along easily. For a student with good rhythm, this piece may be quick to initially learn – definitely worth serious consideration.
C:3 Full fathom five, Nyman
From On the Fiddle
This is a terrific piece that has contrasts of slow cantabile playing, harmonics and quick rhythmic sections to enjoy. A good pianist is needed and the pulse changes will need to be played on the violin with small bows and clear internal counting while accenting in just the right places with a firm right first finger and relaxed bow arm. There are artificial harmonics where it is worth playing them initially with smooth first finger shifts and then adding the light 3rd or 4th fingers – consider increasing the angle of the left arm to avoid any sense of strain. As usual, fresh rosin and quick bow speed will help project the harmonics. The third and final page has some high passages but the shifts are close and accents give rhythmic security. Tiny bows are a good start to clarify things, and then increase the amount and contact to give shape and excitement dynamically.
C:4 Balada, Janáček
2nd movt from Sonata
This is a stunning piece for a student with good aural awareness and warm tone across the geography of the violin. A good pianist will hugely help in conveying the variety in texture. Understanding the genre is crucial so enough time is taken musically and the tone is always resonant. Notes are not particularly difficult once familiar but fingerings will need to reflect the smoothness required. For best control, it is worth practicing shallow breathing on the final, sustained high notes where an extra bow can be sneaked in with the piano chord while keeping an image of the violin floating. Definitely worth investigating this piece!
C:5 Kabalevsky Allegro molto e con brio
1st movt from Concerto in C, Op. 48 (Peters EP 4618)
This is always popular with players as it has a great sense of drama and the harmonies are fun although it has three awkward passages where the fingerings will need to be chosen to fit each hand carefully. It is always helpful for the right hand to lead the arpeggiated sections with crisp articulation, a balanced right shoulder and little bow – economy of movement is crucial! It does not need to go too quickly to convey the character though and a little controlled spiccato is a useful contrast to the more lyrical sections. This is a great piece for a diligent player.
C:6 Kodály The Kálló Double-Dance, arr. Fejgin (complete) (lower line optional in arco stopped passages in 1st movt)
These three short movements are show stoppers and would be ideal for a festival. The first has broad tone, straightforward double stops (the lower line can be omitted) and rhythmic pizzicato before it ends with a pp harmonic (think Bartok Rumanian Dances). Second movement is Allegro and is a great play with strong chords, shifts on artificial harmonics and a very quick brilliante scalic run at the end. The final Presto movement needs controlled spiccato for the passagework and a little ricochet on double stops. Despite looking quite challenging, this piece lies very comfortably and is enormous fun to play once known.
C:7 Kreutzer Étude No. 10 in G (Allegro) or Étude No. 35 in E (Marcia: Moderato): from 42 Études ou Caprices for Solo Violin (Peters EP 284)
It is great to have a choice of Kreutzer studies on the list – all the advantages of an unaccompanied piece, very tuneful and fantastically useful to develop technique.
No.10 relies on good tonal awareness and bow control with the string crossings in this arpeggiated étude. It is worth ‘narrowing’ the string changes to keep them as smooth as possible and varying the stroke to add variety. The left arm should prepare for the shifts as early as possible while keeping the thumb low and relaxed. Playing double stops will give ease and security in economy of movement. Once extensive dynamics are added, this is under 2 minutes long and may be an excellent choice for a student who is short on time.
No.35 is fundamentally a double stop étude and intonation needs to be refined and consistent; dynamics will need to be added. Much of the technical work is similar to unaccompanied Bach; the melodic lines are shaped with care in the bow division while smuggling in the chords with rounded right fingers. There is a lovely sense of projection, a variety in bowing techniques and the harmonies are attractive. A lovely choice!