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    Toaz - Info Left Hand Violine Technique Ruggiero Riccipdf PR

    Uploaded by

    Valentina Rivera

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    © All Rights Reserved
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    of 56
    Left-Hand Violin Technique by Ruggiero Ricci G. SCHIRMER, Inc. PAacsLeonarn: FOREWORD As a concert violinist for more than half 2 century and a teacher for the past decade, I have listened to thou- sands of violinists. They have often asked me how I am able to execute particularly difficult technical passages. ‘They have asked for my secret, as if there were some magic involved. No magic can transform a player into an in- stant Paganini; there are many clements which must be approached with intelligence, discipline, and the patience necessary 0 achieve a particular technical skill, 1 believe, however, that the way practice time is spent and how ‘echnical problems are analyzed is of eritical importance. If there is a sccrct, it lies in efficient practice. ‘There are many problems involved in the development of the left hand, and itis not the intention of this volume ‘to relate to cach technical aspect in a step-by-step procedure, Rather, this text deals with the basic concepts that underlie the building of an advanced leftchand technique, ‘These concepts deal not only with the training of the hand but with the training of the ear as well, Throughout the discussions, intonation must be the primary factor, for no technique has any value if the music it produces is out of tune. ‘This volume is dedicated to helping violinists develop a solid left-hand technique, so secure that there are no technically limiting factors that will interfere with interpretive freedom. J have supplemented the text with examples ‘from the literature plus exercises which I have devised for specific purposes. They are intended to serve as a basis ‘rom which the student can explore, experiment, adapt, or create variations which will serve his own personal necds. the inspiration for many of the concepts in this volume to the monumental solo literature of Bach, Paga- tM 5 i, and Ysae. T urge you to study these particular works well, since they contain practically | material essential 10 che art of violin playing, } ‘CHORDS method for the improvement of weak left hands and fingers, as well ‘Chord practice has long been an accepted ie 1s for improving the hand position. But the practicing of chords also serves another purpose. demands on the ear. This positive effect of chords is readily noticeable in fine string quartet players. They gencral- lyhave good intonation, since in order to play in tune they are constantly forced to adjust to each other. Singlenote practice is of limited benefit to 2 violinist for intonation, since it does not have a fixed pitch from which to measure, Consequently, a violinist may practice single-note scales for years and never really develop a Precise ear. It is possible to begin a scale inA major and end on a B flat or an A flat if there is no point of (tonal) reference. One has only to study the Caprices of Paganini to realize that his approach was chordal, an approach ‘that was perhaps influenced by the guitar. The single-note scale system is inefficient, since there is no way of ‘checking the intonation from note to note. Intonation, therefore, must be based on a chordal-key relationship. I ‘This ear-training phase is generally neglected with students and is therefore the starting point of this text. i ‘The building of intonation through the building of a chord (double stop) is where the building of a solid left- ‘hand technique really begins. AAS vy, ‘THE DRONE SCALE Bai licihy he as in the key when practicing scales, a drone tone creat : i : reating a double stop should b é __ te guard agtins faulty intonation. The following scale example d > aeathanaly ¢ utilized in order ae Ex. Left-Hand Violin Technique Ruggiero Ricci ‘The following examples in G Major show various ways in which the open-string drone can be applied to seale er cnerces Ex.2 jc scale jc scale variation Ve Be SS Copyright© 1988 by G. SCHIRMER, INC. ASCAP), New York. NY Internatcesl Conyeem Sere, Al Ris Revered, Mauonsed eroducos hn pba probit by Feral Lav and sujet inal Poe 6 Ex.6 ‘Arpoggio variation a a (pear ara 48751 Variations of drone scales and arpeggios in D Major. Ex. 13 =o " —enit|||] MMIII wi ONIN HHL <—¥IIT Hi pe aI ur +! oan =H — g im ae £ Ex.23 mis a 6 pea 6 JT ee A= — ( ken 2 al Z| =o Wl ai VI NITE 48751 2 We then need co fix” the pith in the ear by retaining «noe ed Sometimes an open-string drone is not possible: i fa when we placed she fourth finges Don the Gstng x 4 with the finger. In the G-Major seale (Example 1), we i string. matching it with the open D and holding it down until we left the P me Mea In the following two examples, the octave A’s are interchanged Wit be? a Ani and are checked agains: e4. other. Ex, 28 Chromatic scale ———_ 9 Ex. 29 Chord-arpeggio 13 agit! -4 4 oe por eee ls * 4 ofl “4 5 ee aot fA * a a 4 | oes a a ol | “ ~$he a 24h. {| zh Ex. 35 Ex. 36 ‘the intonation, the basic ¢j, c When one plays in a key which cannot ple 41 note the circles j., ‘outline of the key and its common pite and D flats. With the B flat, they © Seale (Ex. 43) is what © Thus we never em the left hand. The followi"® enough the impor" 0 THE CHORDAL CONCEPT: LEFT HAND EXPANSION the discussion and examples for the left hand have been basically within the framework of the interval or the double stop of an octave (first and fourth finger). ‘To advance one’s technique, a player must i listen, and perform in the context of the interval of fifth, We will call his a “chordal” concept, r to better understand the benefits of a chordal approach, we will imagine a violinist with five playing of four. Let us see what could be done. Thirds could be played as follows. a4 oa Ges Jefe hand, since it concentrates on she, This is an excellent exercise for beginning the ee fingered octaves and tenths. ‘two fingers of the left hand but does not cause the tension Gntonation by holding the fifth (the With this chordal concept there is the possibility of (1) Cres BM ofa terms of + as the drone; (2) gently expanding and strengthening the Jefe hand ich as the following from Caprice No outline, This approach is an excellent preparation for passages 54 Paganini He 7. Paganini: Caprice No, 14 ‘This preparation isvital if one intends to play technically difficult works, since Paganini makes demand beyond this in all his Caprices. The following is a more extreme example, One finger is held down whit of the hand expands into another position Preparation pee ae B31 Caprice No. 12, m.2 m.2 x 52 ane eee ta ae Bx 53 ee) = Caprice No.2,m5 Ex. 54 Ex. 55, ea Ex. 56 fown and in Exam, In Example 51 the first finger is held d anchor. 5 he 199 ad 56 the third or fourth tinge: * I 48751 Ex, 60

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