Studies for Air Varie No. 4 (Opus 89) by Donizetti

June 6, 2018, 4:38 AM · Please help me by suggesting the Studies before playing Air Varie No. 4 (Opus 89) by Donizetti. It is having 2 variations. Please mention, in detail about the preliminary studies required before playing Air Varie No. 4 (Opus 89) by Donizetti.

Replies (9)

Edited: June 6, 2018, 9:31 AM · I don't remember any special challenges in this, but you'll need solid intermediate technique. 3-octave scales and arpeggios in Bb will help you a lot. Most of this is in 1st and 3rd position, with a couple of octave harmonics (on A and E strings) and a couple of basic shifts from 3rd pos up to 5th on the E and A strings. You can just isolate those and practice them. Slurred 16ths, spiccato 16th, some basic double stops in 1st position. Give each variation its own character. Vibrato on the cantabile sections.

Do you have a teacher? Is your teacher showing you how to work up new pieces? Play through and find the trouble spots so you can isolate and fix them. Good luck!

June 6, 2018, 9:11 PM · Thank you Scott!! It would help..
June 6, 2018, 10:54 PM · I'm not sure any preliminary studies are required if you've achieved the necessary skill to play them. In essence they're etudes themselves, designed to help you improve various aspects of your technique.

What piece are you playing right now?

June 6, 2018, 11:51 PM · I'm currently studying:

a) Violin I of Concerto Op. 3, No. 8 by Vivaldi
b) Violin II of Bach double violin concerto in D minor BWV 1043 (Suzuki Violin Book)

and some Sevcik & Kayser etudes.

June 7, 2018, 12:01 AM · I don't know Vivaldi concertos by op. numbers but If you're playing the Bach double you're fine to study the Op. 89 Air Varies.

Op.118 are heavier.

#4 is not the hardest but is probably one of the more awkward of the bunch. Is it the first one you're planning to work on? Why not begin with #5?

I usually have my students learn #5 first, then either #1 or #6, and then one of the others. If you like them learn them all!

The underlying purpose of these pieces is to learn how to sing through technique. How to sparkle.

June 7, 2018, 12:13 AM · Thank you Ryan, I will start with the #5 of Opus 89 by Donizetti. In addition, could you help with some technical exercises which would be required?
Edited: June 7, 2018, 12:32 AM · Sure, I'll help if I can.

My students would typically be somewhere in Wohlfahrt op. 45 Bk 2 at the point of studying the op. 89 Air Varies. That volume focuses heavily on general technical prowess from 1st - 3rd position. It begins to incorporate 2nd position towards the end of the book.

Some of the etudes are quite difficult to play well and up to tempo and are MUCH harder than the Dancla. They exist for students to cut their teeth on moderately advanced playing. I much prefer a student to play a difficult etude up to tempo with a few mistakes (provided tone and intonation are ok) then to have them play perfectly, but slowly and heavily in a way that doesn't challenge them properly.

Every student is different, of course, but most students would probably be in the 5th position section of Introduction the Positions Vol. 1. Those volumes can be dry and are in dire need of revising (something I always thought maybe I'd do some day) but I have yet to come across a better method for feeling comfortable up and down the fingerboard. I studied both volumes very conscientiously back in the day and I've never had any issue with shifting since then.

What Sevcik and Kayser are you using right now?

BTW - #5 is on a theme by Weigl.

June 7, 2018, 1:55 AM · For improving my intonation and right hand movements (which I must improve most importantly), I'm working on Sevcik Opus No 2. For Kayser, I was doing Study no. 7 last.

So, as I understand, Wohlfahrt op. 45 Bk 2 will also help me. I would try to work on them.

June 28, 2018, 2:20 AM · Could anyone suggest a particular study spiccato 16th for the second variation particularly?

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