Whistler on 2nd and 3rd positions
I've been trying to devise a methodical but condensed approach to him.
2nd position is easy - there are only about 5 definite studies obviously worth practising.
But 3rd position is a lot more extensive.
I find to my surprise and satisfaction that the studies are a lot more enjoyable to play than the "Selected Solos" that follow them (vol.1, p.26ff) - what a dreadful lot of clichéd tearoom drivel! So they are out.
It may help to start with the specific key sigs first.
Any other suggestions?
Two octave scales in one position with a drone for intonation, and scales with one finger for shifting. Just 5-10 minutes a day...
I never teach the "selected solos."
For second position there is a nice study but it's probably a little harder than what you have in your Whistler book. It's Kreutzer No. 2. The entirety of it can be played in 2nd position with only one stretch for the high D toward the end, and the stretch is good for you too. Of course Kreutzer No. 2 is not intended to be played this way so there will be some very awkward fingerings and string crossings. But that's precisely why you do it. You don't have to do all of it at one sitting, and you don't have to play it fast, and you can just play detache bowing. Concentrate on your intonation and getting your hand positions comfortable.
Interesting, Paul. I'm working on Kreutzer 5 at the moment, and plan to work on K2 afterwards, so I'll bear in mind the possibility of doing it all in second.
Yes I agree with you about the sifting. It just depends if you want to do more than what's in Whistler.
If I want to condense, I want to do less than what's in Whistler!
Tsk tsk. More homework is always better. :)
My point is that the repetition is important in and of itself. "Condensing" completely defeats the purpose.
I don't think Whistler is very extensive so I wouldn't condense rather the opposite. Some of them are definitely more enjoyable than others though imo.
Well, maybe we have different ideas of what I was asking. In the way Whistler has a "big" or "definitive" study in keys like Bb, Eb, F, A, etc with shifting, importantly (3rd position, pages 17,19,21, 23, 25, mostly by Wohlfahrt, curiously), it would have been nice if he'd unified that approach into some concision in the earlier keys of C, G and D. To me this book seems meandering to begin with, before becoming more satisfyingly focused.
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