KREUTZER ETUDES

VOLUME ONE

SELECTED, EDITED AND RE-ORDERED

FOR Til-]E ADVANCED MALLET PI-AYER
BY KAREN ERVIN PERSHING

STUDIO 4 MUSIC
 KREUTZERÉTUDES
VOLUME ONE
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tsY KAIR.EN IEIRVÌIN IPER.SHINC

GUIDE TO THE ÉrUOrS

ÉTuu KEY MAJOR PROBLEMS ADDRESSED

L-2 C Maj Accuracy in C N{ajor

e Eb Ua3 Fluidity, ability to play with either R. or L. lead
1 C Maj Scales and arpeggios
5 A min Arpeggios
6 C Maj Scales and arpeggios covering a wide range
7 F Maj Smooth sustained roils
8 D Maj Broken octaves
10 A Min Smooth rolls, grace notes and trills, rubato passages
11 F Maj Endurance, musical playrng of repeated figures
12 E Maj Rapid arpeggios, double sticking
13 Ab Ua3 Rapid mordent-Iike figuration, broken octaves
14 G Maj Double stops alternating with single notes
15 D N{aj Trills
16 D min Independence between the two hands, playing two
separate musical lines

STUDIO.T \'1USlC
 Introduction
Rodolphe Kreutzer (1766-1831), one of the foremost violinists of his time, is probably
best known today because of the sonata Beethoven dedicated to him-the irony being
that Kreutzer disliked the work and never performed it. We should probably forgive him
for the lack of musical taste he showed in this instance, however, for the sake of his
Études (or Caprices) for the Violin. Ever since Kreutzer's day, they have played an
essential role in violin pedagogy.

I first encountered Kreutzer's études as a student of master teacher Earl Hatch, who was
responsible for several generations of fine West Coast mallet players. Earl used the
étuàes with his more advancsd students. Many of us, I'm sure, tore our hair out trying to
meet Earl's high standards for performance of these studies, but the lessons learned were
invaluable.

Anyone who compares the current volume(s) with the original violin version will soon
discover that not all the studies have been included in this edition. The reason is that
some are simply not practical for the keyboard mallet instruments. (Not even Earl forced
us to learn those!) A few playable ones have been omitted, either because I felt they were
not of particular value to mallet players, or because the technical and musical problems
addressed had already been better explored in another étude.

General Instructions
When a range of metronome markings is given for a particular étude, the fastest is the
ideal tempo to be aimed for; however, the slower marking is acceptable. Some mallet
players may want to work the études up to the slower marking their first time through the
book, then return later (years later, even) and learn the studies at the faster tempo.

Some of the studies have no dynamic or phrase markings. This is deliberate. The
musician should not, however, play any of these without inflection, phrasing or dynamic
variation. Rather, the lack of such markings should be viewed as an invitation for each
musician to create his or her own interpretation, within the general range of given
metronome markings.

It should be noted that in those études which do have dynamic markings, the vast
majority of those markings are mine. Most of the original études have no dynamics at all.
Therefore, the performer should feel free to disregard my choices in favor of his or her
own.

Enjoy!

Ya"r* h -frr.he
 1

Despite the lack of dynamic or phrase markings, this and the following etudes should
not be performed without inflection or variation. (See General Instmctions.)
An interesting challenge is to learn both the frst and second studies entirely with a
legato touch; then to learn each of them with all notes staccato or semi-staccato.

Allegro moderato )=76'Io8

s4M-2072 O 1996 Studio 4 Music

 Allegromoderato )=zs-ros

3
To get the maximum benefit from this study, it should be learned two ways: (1) Begin with
the right hand and alternate throughout, with no double stickings. (2) Begin with the left
atlegro.J = 12o-16o hand and alternate throughout.

L RL

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 Allegro )=+- rrc
-----:---ì\-

irf Lf

-l
'''---:j- -f
t mp

-:-----. ^ tt

-rnf -rnf

-------:---
t 3 -e
mf tnmP

<,,...,.--

mp ntf ---" -- - mf
--.-\-

mp -'tttP -mP
cresc poco a poco-
-mf
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--- "tr

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 Allegro ) = ss-rrc

Bro- - -

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 6
"tr" in the next to the last line : a trill. In this period, the trill is always the written note, alternating rapidly
with the next highest note in the kev, unless otherwise indicated by a t ,L , or E sign direcrly above the "tr."
In most cases. the trill should begin with the written note.
l

Moderato I = to8-192

umP cresc poco a poco

L RL R

L
mf i'l'/Ju- - - ff
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I

7
This etude is deceptiveiy simple in appearance. Not only does it challenge the endurance of most players, it
requires, for the best musical effect, careful attention to variations in roll speed.

Roll All Notes

Andante:+-69

_-
/- ^->
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-
mf
a- ------
-t

--- -.-
P

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cresc poco a poco
1---!:--

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- -^=--..*
---=_-t -_V --__>; ---__-, \\--
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-mp
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dim -- p npp

* "tr4dimdoho-pp--J
Make sure to break the roll slightly between Sths so they do not sound like a single quarter note.
s4M-2072
 Allegro assai ) ss-uz
8
=

t*
I

i-

cresc poco q poco-

e
f

R
'mf-p mf- Rf
 9
The player should begin with the right hand and alternate rigorously throughout the etude (resisting the
temptation to double-stick the repeated notes) until the last two lines, where the stickings are indicated

Allegro ).= uz- rsz

,,%
-=..--

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 10
Roìi all notes of .\ or greater in value. Roll speeds should^viry musically, increasing or decreasing the tension il the
longer notes. The piece should be somewhat rubato, especially the passages with rapid note values in the last four
lines. Be cautious, however, in playing rubato in the first half of the etude, as a rubato is imperceptible when the note
values are long. (Rather than rubato, they come out sounding "wrong.")

Adagio sostenuto J= * - r,

--
.-
-

................->

_ p\r= #r

a
€>-e'^Ì' ilo--..-..--o ùi!

---=.---_j

-
i0

11
In this etude, the performer should feel free not only to create dynamic variations (as with all etudes lacking dynamics), but
also to vary tempos somewhat during the course of the piece. A slight ritard leading to each of the rolled half notes would
be one - but not necessarily the only - permissable variation.

Allegro moderato )= rco-ua

s4M-2072
 n,

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s4M-2012
12

t2
Allegro non t.oppoJ .= s2-72

L <:-

-r:===_-

-mf mp-

-.mp
mpF- tnp
 t3

dim--

Fmf

mf-
ò- -
-\

mf mf

--

-"tr
LRRL L
RRLLRRLLRRL
;mp
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mf Jr- mf cresc ----- "ffi

-

s4M-2072
t4

13
The l6th note triplets should all be played with a very fluid legato. The performer should create dynamic variations,
but the tempo should remain tairly steady for most of this etude, although the extended passages of 8th notes (for
example, the last line of the first page) may be played somewhat more freely. The double stops on the second page
may be accented and that passage played slightly more grandioso than the rest.

Maestoso ).= ea-ss

33

RRLRTì'h

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 i. n r- P L RLR L R

RR L R R

R 1ar"

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16

T4
At the very fastest tempos, quarter notes need not be rolied.

Allegreno o = 12o-152

cresc poco a poco

---- f

LR L LRL R
cresc poco a poco

LR L RRRRL
mf-P f

clesc - a temno
,a ri

f
J

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 t7

cresc -

RL L R L R L _R
-R

r-
. LR R R
P R R

RLR R R

-yP

f rit----------l

-,ff

s4M-2072
18

15
All trills consist of the written note and the next note up in the key, uniess there is a [ , or q above
I
the trill, in which case the written note is altered accordingly. Trill stickings: The first indication
given (R or L) refers to the written note, and all trills in this study should begin on that note.

Moderato l.= 69-IO4

b ,b
+--.-
ffi
--+-
L R- I-R sim.

LR
f
b

-p
b
=
=
RL stm.

b t

R
L sim.
)mP
b t

bf
-

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 19

cresc -
b

RR i*tn'fni;r.
mf
ubb

cresc - ff
JJ

cresc -

RRL RRLnr-Rr-R

poco rit

s4M-2072
20

t6
Moderato ).=e:, p
RLRL

:p

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 21

R RRRRR
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s1M-2072
 LRLRL

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cresc- --- tr dim'-

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dim e allargando molto- -- --- --PP

s4M-2072
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