Written by Eun Hwan Bai
Published: August 17, 2014 at 11:19 AM [UTC]
Be careful, and enjoy!
High Tech: 35 Exercises (Nos. 26-35)
Exercise 26 Sheet Music
Exercise 27 Sheet Music
Exercise 28 Sheet Music
Exercise 29 Sheet Music
Exercise 30 Sheet Music
Exercise 31 Sheet Music
Exercise 32 Sheet Music
Exercise 33 Sheet Music
Exercise 34 Sheet Music
Exercise 35 Sheet Music
* * *
This exercise is a method for training '3 string chord' and '4 string chord', with using all possible fingerings allowed by each combinations. From the beginning, you have to master the vertical interval first, and then, you need to move the scale upward as well as written here, of course, it will not be easy. However, if you have found some measure of preferential intonation, in order to find the distance against movement of the pitch, any two or more chord notes must be repeated reciprocal movement several times to master the distance.
The difficulty of intonation can be overcome through the stretch, but for the smooth movement between the positions, it is important to check the status of movement of the multiple fingerings simultaneously. Particularly, simultaneous movement of chords with 3 or 4 fingers is no joke, is not easy. It is not absolutely impossible to play, but at the same time, it is like a computer, movement of sound is in fact, virtually depending on the each finger's sense of distance in advance. Especially, in the first chord, 4,1,3 fingering, when 4 and 1 for the 3rd, and 1 and 3 for the 6th, that would be very inconvenient.
However, if you understand and train the 'pre-contraction' in advance, it is not so much difficult to do. The opposite of stretch, the fingering of the opposite shrinking phenomenon; the contraction is a part of a very important 'know how'.
Particularly, in the chromatic scale; you need to continue to practice with only 1 and 4. Even in the chromatic scale, start the first note with 4th finger and next note with 1st finger, so, practice to shift repeatedly; which is necessary.
Using 4 strings chord, leashing 4 simple notes is an example, but the 4 string chord can be very difficult depending on the fingerings or the based on sequence of the notes. Almost infinite combination can be possible in 4 string chord, by use of careful fingerings, the composers can apply this order of sequence notes. Sometimes, however, a well-known violinist and composer, deliberately composed the following chord of the 4 string chord, for special personality and artistry of one of Schubert's violin solo, 'ErlKing', made ??the arrangement by Wilhelm Ernst.
Especially in his 'Last rose", the 4 string chord and other fantastic techniques, such as, one string melody, double harmonics, left-hand pizzicato, are covered all over the music. In the fast part of the melody, such as 'ErlKing'(piano accompaniment part, noisy sound of the carriage) with 4 string chord is need to be played at the same time, and in order to do that, as soon as the stretch of the left hand, must pull 4 simultaneous strings, as well as using the right hand shoulder of the bow, as a motor in the miraculous technique.
In the shape of the symbol of 4 string chord are in the lower part, in practice, based on the bottom note, you can imagine and emphasize the bass sound with arpeggios notes using the 4 strings. Then, if possible, try to draw the 4 note chord at the same time, and also try '4 chords bowing' at the same time.
As you can see, you must draw the 4 strings at the same time with the whole 4 string chord. Of course, it is the concept of simultaneous, 4 notes will try to make a sound as soon as possible using bit of a curve by the fast bow. The question is how to hold these 4 notes at the same time, in fact, your finger must be like a Classic Guitarist using almost all the length of the finger, on the side of the finger, straight line at 90 degree angle. In this way, even the other 4 fingers must be straighten at the same time, like the index finger's value, which end up playing like the guitar's left-hand, in fact, even this is very hard, the left elbow must be turning far inside all the way.
Of course, the intonation must be perfect because it is written perfect 5th, as originally should be clean notes, but although, the best of your ability, the finger lines must articulate each string and touching parts, and the fingers must be able to press properly. At first, the first touching part of the finger can be a little uncomfortable at this time, which you do not touch some part for the purpose of these efforts, but the 4 strings must be swallowed at once as a function of the strings and it must got to be very challenging to have confidence .
Starting with the second line, even though the appearance is a sign for the bottom of 4 simultaneous notes, it is based on perfect 5th increments all other above like a Guitar method. In other words, all bottom notes act as a guide in G string, and automatically lead the rest of the sound symbol in the shape of the perfect 5th increments, so, of course, you must make sure the note is recognized to sound which you practice of any notes.
In the lower part, you are not supposed to make the 4 note sound at the same time, but as you are used to the lower part of the ear, you must learn to make perfect 5th harmony with 1234 fingering on the basis of sound by using one string to stretch with arpeggio, so, between the notes, you must stretch a lot to make these perfect 5th arpeggio. In other words, if you are playing only with G string, although the note view is very difficult to identify, but in order to make sure,use the Guitar technique and first, 4 notes must check out in advance what the scales are made of and then, practice with fingering 1234 4321 1234 4321....so many times to stretch notes.
This level of stretch, the degree is in fact, so difficult and like a jump, but the each finger must connect the sound taking in turns, just like a calm, flexible walking. Of course, sometimes you lose the notes, in that case, you use all 4 strings again, and with the guitar method, try to confirm the notes and try that on G string only. Of course, as you go up, it is hard to confirm the intonation like no where, but if you keep repeating many more times, you can eventually input both the color of the intonation and construction of the 5th arpeggio in your brain as the automatic reflection. Even though it is very difficult to succeed, but try it, you will find a miraculous phenomenon.
As you can see, using all possible fingerings in each string, this exercise is an application of the combination scale method. First, only with 1st and 4th finger, try the chromatic scale on G string, but in fact, if you continue to climb up to the highest place of G string, as far as it can possibly draw the sound, even allow to leave only the bow hair space, until the sound is the sound of an extremely high sound, you can go up to 3 octaves with no problem. In other words, if it can climb 12 half steps in one octave, it is '12 semitones, 3 times’, 36 notes up and comedown with 36 notes, combine together, 72 half steps.
Same with D string, with 1st and 3rd finger, roll up and down the the scale, with 72 semitones (no need to be exactly the same) try high enough of the extreme place. If bow draw space is about 10 centimeters, leave only 1-2 cm long for the bow space and use the rubbing alcohol to wipe off the rest of the string with tissue moistened, but be careful not to touch the body of the instrument. Using water for a temporary wipe off is also acceptable.
With two fingers, going up and down with all half steps,
there are only six types of pairs, 12,23,34,13,24,14 in each string which probably the best training. Also the bottom is a diatonic scale, whole tone scale, which notes are consisting of whole tones in distance. This also helps if you continue to challenge to the top of the 3 octave climbing in one string.
At first, one octave, then two octaves, gradually move up this way. If you try not only all the available combination of each string, but also, hold the perfect 5th with 2 strings at the same time, you will certainly have the 'one stone, two birds effect’.
This is all you can think of all the common scales and arpeggios with fingers holding 2 strings at once, using naturally occurring perfect 5th. The problem is, of course, the high position and the location of weak 3rd finger and 4th finger that you have to overcome which is possible. Because if you think of the classic guitar and the cello, compare to their situation, we are just a nothing.
No matter what, your fingers can lay down in a high position like a guitarist and no matter what happened, your fingers can stretch like a cellist when you need to spread them apart. If possible, put your left elbow as much as possible toward the chest and the left wrist must be twisted counter-clockwise as far as it can play. It is always normal to have the combination fingerings to be changed infinitely.
If you only practice the perfect 5th scale persistently, it is just alright to have 'the intonation worries’ naturally. So, for the precaution, practice not too slow but slow enough to indicate clearly the conscience of the intonation to be in tune as much as possible, basically no need to be totally perfection but it is OK when it is more than 80% relief. The last note of the first line and up to the 2/3 of the next line, one is black, one is empty, purposely represented. They are certainly indicated as signs for the distinctions.
In the end, musical skills need the basic techniques as much as possible, so, the perfect 5th exercise is the main support and the measure of basic training. It is like you are trying to memorize a right words, “Oh-uh, what was that?” after
trying to memorize a few times, but it needs to process it again and again. So, intonation is a technique which needs to sharpen the skill for a lifetime refining.
This is showing the ultimate finger stretch method, but of course, if you are a fan for an old favorite Paganini’s famous exercise, still only a few masters have mastered this method, and almost normal players have to give up the attempt. In fact, I remember when was a student, I was shocked to see and reading the Paganini Biography book, inside, there was Paganini paintings, manuscripts of his music and a fake imitation picture of his playing of this technique was described.
Inside the book, at the first time looking at, it was almost impossible to figure it out, the 5th position holding the 4 E notes in octaves, even though, it's a well-known and admired, it was so weird, what a difficult memory. After decades later, a little by a little, I’ve got used with this technique of discipline, now, it is really easy to catch. Now, I can play in any fast tempo and any speed of this 4 octaves arpeggio chord up and down. It is interesting and fun to play with this technique on an easy song or a hymn, which is truly a large effect. If somebody shows this difficult technique at the first time, it is an eye-popping. But once you master this technique, you can have the stretch, flexibility, accuracy, power, and creativity to develop infinitely.
So, more then a wealth, a success, this effort of the true technique is the best training for you to learn to love the world, like you want to show musicality to serve as an important motor. This is a nervous phase of the score, even dare to challenge. However, dancers, martial artist, they train this whenever they can to stretch, even though this is not a joke to stretch, until the fingers are really flexible, you must stretch each fingers to put a fist between each finger and start to stretch even whenever your fingers can, even when you watch TV.
With Film canister, coffee cans, bottles, etc. insert it and stretch in between muscles and nerves, in priority. The problem is the pain in the left hand, especially 3rd and 4th fingers are weak. Sometimes, especially at the end of the 3rd finger, the very place touches on the side of the finger which can be trained like a stone until it solidify. Of course, 1st and 2nd fingers are all the time toward back sides, next to the fingertips to touch them, but specific reason is, 'Because of its strength'(^ ^), it is no problem.
First position from the beginning is the most difficult challenges, but first,
challenge from the high position, of course, without a lot of training, you can handle easily a 'high narrow 4 A’ position. Yet the intonations, at the first time, I do not care so much about the overall intonations, but flexibility of the fingers is the one you should care, if you succeed, and then, come down one by one, by half steps to automatically extend the fingers to give a little bit of distance.
Continue to do so until the final destination of a chromatics, come down to the 1st position one at a time (A Flat, also ^ ^), which of course, the success is possible only by constant effort. It helps on each finger to hold on to the perfect 5th except E strings the 4th finger. Always, a habit of taking each fingers to hold the two strings, a habit of the right hand milling by figure 8 characters, you must always keep both in mind and never forget to master. Perfect 5th must be practiced in all scales, particularly, must be conquered including in scales using only two strings up to the most high position. Of course, try with the fingers holding 4 strings using the arpeggios, in the bottom sample.
As it shows the bow is jumping two octaves alternating between the G string and E string, at the same time holding the left hand position and using distance among notes only with sound. In other words, arising form of the left hand which the dimensions of the hand is fixed to get the same effect as a chord, at the same time, so you will learn the horizontal note changes of two octave which are produced upward. In easy words, you feel the distance of alternating 2 notes, between 'bass and hi 'note’s changes, keep feeling the repeated vibrations of the sound, so, the ear is adapted to frequently varying training also helps to improve agility.
If you look closely at the formation of the consistent scale, learn the distance through the spontaneous alternation of fingerings, while forming a Mall of the hand in group chord shape which two effects are expected with one stone. The accuracy of the notes is in fact, still depending on all 4 strings which you are holding each notes with perfect 5th on both 2 strings. It is the mute sound, but for trials to draw a shape of the notes, in the form of D string and A string, try to have a good perfect 5th effect with mute string also.
Of course, the blurry intonation phenomenon will happen for the place of perfect 5th. Especially, it is very hard to draw perfect 5th in a high position with 4th finger at the same time, on E and A string, But still try to pick up the classic guitar hand shape as much as possible, with the finger stretched out with 4th finger using straight line to hold the 2 strings in the form of right angle. Unfamiliar at first, but in fact, learning the secondary technique through eventually bypass the natural habit, is the basic source of all technique.
As you can see, this is a natural harmonics phenomena which is a very simple form of perfect 5th away, that is 'one-third of the string distance', reports to create, slightly touch the upper perfect 5th note with the 4th finger, and tighten the bottom note slightly stretch and touch the upper 5th, to make a effect. However, generally resulting the sound of two octaves above perfect 5th, slightly touch your fingers toward the finger tip than the normal (personally thickness is different) to make up the distance (!), to the inside of the soft flesh of the finger, helps to make the finger generally straight line as much as possible, which is the best way.
As in the case of the natural harmonic sound, the 4th finger of the artificial harmonic sound of the bottom note, in this case is the same way, after the base note is firmly fixed, you have to learn the distance of upper note, at the same time, for the accuracy of the hand, stretch to find the place for both normal finger tip and harmonic finger tip. If possible, for the easy way to stretch, twist the left hand wrist in counterclockwise direction, put in deeply inwardly as much as possible. So, in advantage, you will get a good form of hand in convenience and easy to stretch. In addition, for the accuracy of the horizontal movement of each notes, you must be aware of the distance between the notes, at first, slowly, repeat and compare only 2 or 3 notes in rounds(!), several times to confirm the location, also must be noticed the distance of each shifting.
In fact, depending on the performance of the brain, at least it is usually a normal to memorize in 5-6 attempts temporarily, buy for a life time to remember, you have to at least memorize more than100 times, in rounds. The art of practice is made this way. So, this practice is one of the best examples of art represented in training of perfect sound, which is very effective and helpful.
Basically the first note is fixed note and by using the rest of the combination, at the same time, stretch exercises as much as possible, the aim is to develop accuracy of the note and flexibility. This is also used for the perfect 5th and perfect 5th finger action to relax at the end of the finger tip, and at the same time, in order to to help to remember the correct distance between the fingers, you must learn the well tempered chromatic halftone scale as much as possible.
So then, 'adjusting intonation’ is controlled for a personal taste for the color of the melody depending on the purpose of the regulation at the interval, but in general training, 'well tempered half tone’ has to be mastered evenly. In the the gap of the note to note, by raising or lowering the pitch, it may stimulate the sound might requires a separate exercise, which helps to raise the concentration of musical fundamentals, but to raise the effect of basic training, it’s no particular need to exercise this.
Because if you repeat the automatic controlled 12 half tones, which constantly move up and down like a printing machine, is an important goal. So, the practice one string with imaginary parallel melody of the sound, is for the formation of the melody and distance of the sound, so the best way is to try the arpeggio with all keys, with all combinations. This method is just a sample indicate merely based on the mind of anyone to practice which can be practiced in any notes, in any way of changing the position. With any string, any note, any position, any temp, any fingering,...., you must follow and understand the system of all places and situations can be changed, even with all kinds of bowing to look for help.
All combination means not only for the calculation, but follow the situational judgment at the end, fits the song, for the best advantage. Particularly, in the case of the exclusion of shifting, use deliberately stretch only, like a bottom sample, the 1st finger is fixed, and with rest of the fingers with a free speedy tempo by purposes of the maximum stretch, of this experience is good.
Free tempo means in fact from very slow, to the super fast speed of the free movement of self-control, like a tempo with all-speed trains, move slowly and getting faster and faster as you can adjust. In fact, if you are sure of the notes and intervals, it is all possible and easily done. Like when you play the harp, the arpeggio is moving instantly fast, colorfully, harmonically, like lightning.
First, in order to understand this exercise, definitely you need to know the purpose of double stops. When you draw two strings, you have to know either dissonant or consonant in intervals relationship and even you have to tell the difference of the harmony between the notes in the horizontal relationship and must be checked whether dissonance or not.
Yet it is easy to strengthen the left hand of on the perfect 5th training for a complete understanding of the perfect 5th, but instead, might be misunderstood when the fingers consequently lose the rough feeling. For perfect tuning, if possible, you must have the complete co-ordination of the notes, a noise can not be ringing until crisp perfect resonance, not only just like tuning sound blindly for picking up perfect 5th,
but also in relation to the elbow, horizontally must put inward to tune in and out slowly until it can be confirmed, and if you do not have time, just adjust the angle of the fingers and try to catch the perfect 5th. Until you complete all four fingers with perfect 5th, you need to invest heavily which this case is very helpful.
This exercise needs stretch of the fingers with required strength and flexibility at the same time, you have to maintain the angles as much as possible until the force is no longer hard to strive to. The reason of use of arpeggios with repeated broken arpeggio, is to know revalidation of the notes as notes are repeated to confirm to fix by itself. If possible, you need to conquer the highest point of high position, but when coming down, be more careful here too, even though it is shifting less, like a stretch, be careful not to loose the note.
Also same way in the fingered octaves, internally put the first finger in perfect 5th way, and stretch with holding the 3rd and 4th fingers at the same time, with the distance of the notes, and the check will be repeated. At first, it might be hard to relax, but pick 2nd and 4th finger up in the air, then keep hammering down so hard to get the speed and strength to back up the narrowing of the air gap.
Under the bottom, this type of method is described in more difficult way which is Unison arpeggio, for 100% accuracy and flexibility of the notes, if possible, it is worth to try with fingered 10th arpeggio, and if you overcome with the stretch, you will have tremendous flexibility and speed, and accuracy of a stone which is extremely effective. After all, when you can make a comfortable stretch, strength, flexibility, and accuracy, even at the same time, a good vibrato will be developed into yours.
There is no better exercise then this for intonation study. Because ‘harmonics' means, in fact, 'natural harmonics’ is a phenomenon due to the wavelength of sound. However, the black square shaped bottom note on the basis, is surely holding with the first finger, and the distance between the notes in proportional state, must be 1/2, 1/3, 1/4, 1/5, 1/6 of the string length.
Simply, one octave of note, if you slightly touch with 4th finger on above half distance, the sounds is accurate one octave above the note. If you slightly touch the perfect 5th above the note, the sound is on the 1/3 distance of the string,
and 1/4 is the one you frequently use, the 4th above, if you gently place it, the harmonics sound is two octaves above the note. Because a such place is hard to find the accuracy, you really should look for the harmonic sound like the fingers of a microscope and carefully making sure to have the discerning ear.
If you keep repeating the success, the sense of success is input to your brain and at the same time, you will have the enhancement of skills. One must not be satisfied with just one success. With all notes, with all keys, you must continue to repeat the feeling through the infinity of sound that you can be a genius of the intonation, if you really apply this. It is easy, of course at first, to ignore the fact that 'use of common sense to the theory’ of the actual practice. With applying theory to this practice in the harmonics, the sense of the fingers cant be more accurate than the computer.
All virtuosos are enthusiastic about the 'double harmonics exercise', because it is confirmed that is true and realistic. Of course, you must practice along with the stretch, it matters, once you set the 1st finger fixed and even the 4th fingers is apart, the 1st finger is never shaken. Of course, for a short distance of the harmonics, if you are looking for good sound, slightly touch with the 2nd or 3rd finger. Even for the octave above the note, you can try to stretch with the 3rd finger.
For your reference only, it is simultaneously effective, if you are holding two strings with harmonics, for example, hold the perfect 5th harmonics with 1st finger with two strings, at the same time, slightly touch the 4th finger at the distance of the perfect 5th sounds above, with two strings to find the full perfect 5th double harmonics, that is very effective If you try in this way 'with all harmonics with two strings’, the effect is great, like 'two birds with one stone'.
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