Etudes for Allegro, first movement from Concerto in G, Op 3 No. 3, RV 310 by Vivaldi

July 22, 2021, 3:14 AM · Could you help me with the list of etudes for developing the mentioned piece? This is a Grade 5 piece, and I would like to know the etudes for it. Please consider myself as a Suzuki Violin method 4 level player.

Thanks in advance!!

Replies (12)

July 22, 2021, 4:37 AM · Just do it.
And maybe practise the relevant scales in 2nd and 3rd position.
July 22, 2021, 8:06 AM · greetings,
instead of etudes try transferring things like bowing patterns and rhythms to your scale practice.
July 22, 2021, 9:43 AM · Agree with above. Just do it, so long as you have played suitable pieces beforehand leading up to this. The main Etudes books were all written after the French Revolution when there was a significant rethink in the approach to violin technique (even detache etc). This is not particularly useful to you for earlier baroque music in my opinion.
July 22, 2021, 12:24 PM · You could create an etude out the piece by slurring the notes (the notes in each beat for instance) instead of playing the notes seperately at first as written.
July 22, 2021, 11:46 PM · Thank you everyone for giving me various suggestions. :)
Edited: July 23, 2021, 2:04 AM · Fast, baroque détaché being my bugbear, I couldn't find a use for Raymond's suggestion.
Edited: July 23, 2021, 4:03 AM · I often do as Raymond suggests: slurring shows up mushy finger action, which is one of the main reasons for a poor détaché. At this point, string-crossings should be also be very light and swift.

Aternatively, if we have the patience, we separate each 16th by a 16th rest, during which we prepare the next note: popping a finger to the string, or snatching it away, with very swift string crossings.

In both cases, the left had must lead (difficult for us poor right-handers). Then we play normally, a beat or a measure at a time. The analytical playing should have made a difference, with much a better détaché by the end of the week..

July 23, 2021, 4:10 AM · For the baroque bow stroke on 8th notes/quavers, I find that the most common problem is that students start the stroke with the bow suspended over the string with thumb tension, instead of letting the stroke start with the bow already sinking on the string naturally. I suggest to try placing the bow on the string then take the bow hand thumb off (or just tap it quickly off and on, if you haven't developed this ability yet). This ensures that there is no lifting tension from the fingers. Then all you need to do is move the elbow and wrist with energy to start the bow stroke, followed by immediate relaxation.

For the music in question, try to find places where one can place two fingers down (preparing an upcoming note in advance) as well as keeping fingers down as much as possible (including during back and forth string changes).

Edited: July 23, 2021, 2:28 PM · I like John's bowing suggestions. I teach even my beginners a short, light, collé-like stroke, especially useful on viola, as well as the deeper swung stroke. There are no straight lines in nature...
I also like the active right thumb.

For the left hand, when keeping fingers down during repeated notes or in string-crossing, a pulse in the static finger when replaying its note can help to keep the vital left-hand precedence.

The secrets of détaché lie as much between the notes as during them! "Just Doing It" again and again will simply reinforce any deficiencies.

Edited: July 23, 2021, 4:18 PM · I think most teachers have taught Wohlfahrt and/or Kayser by this level, plus possibly Schradieck and Sevcik. (I vaguely recall working on Mazas at that level.)
July 23, 2021, 6:07 PM · I'd have said the concerto IS the etude. Let's face it: It is not one of Vivaldi's great inspirations.

Don't get me wrong: Vivaldi has written some great music; only this concerto (and the famous a-minor) isn't great.

You could work on the b-minor sonata op. 2 no. 5 instead for example. It is shorter and much better. And about on the same level of difficulty IMHO.

Edited: July 24, 2021, 3:08 PM · Hi Koustav, I am a student as well.

My teacher taught me this piece on 3/22/2021. Two weeks prior, she had me practice the Wohlfahrt Book 1 Etude #7 which is also in G major. This Etude is on page 14 of the Rachel Barton Pine edition [there are others editions and numbering on Etudes differ]. I played the notes in groups of 2, and than in groups of 6 as represented by the slurs. Practice very slow, then slow, then faster. That Etude really help with this Vivaldi Concerto. I think the focus is on the left hand, when dropping, to get to the right pattern. Then the piece can be played faster.

Also, since I am beginner, and haven’t learnt vibrato, I play without vibrato and focus on left hand pattern and finger placement.

The fingerings [with help of teacher] on this 1st movement allow for switch from 1st to 3rd positions. So there is that practice as well.

Edit: I just realized the editions of RBP also can be different. It is Wohlfahrt Op. 45 No. 18

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