Intervals are studied melodically. Each interval is made into two groups of four eighths, one group slurred, one détaché. Sections between double bars are to be repeated (Commandment 10), giving one as many repetition hits as one wishes. Dynamics and accents are copied into the intonation exercises, as well as instructions for bowing.
For a change of position, another pattern is used:
This is nearly enough to make one’s own Ševcík style intonation exercises, but occasionally the master surprises us:
Obviously we’re supposed to use the third finger for support here.
In the repertoire studies, intonation is always practised first. This has the advantage that we don’t need to fiddle with it later. And it is easier on the ear, too! This is done for every section of the work.
More entries: January 2012
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