good热身

Article from The Strad, February 2000, reprinted with permission No othlete would go into oction without o proper worm-up session, Neither should musicions - but common sense is os importont os fost fingers, 6 .e o 6 C .s E o d b c Polriciq McCqrty odvises on efficient routines for violinists ond violists Gottlng warmor Worming up corefully before pracl ice and performance is as important to a string player as it is 1o any athlete. whether the player wishes to maintain, refresh or develop technical skills, efficient use of the first parl of the praclice session optimises the days musi- cal results, helps to avoid physical injury and encourages the brain to be in control of the fingers. while the basic issues remain much the same for al l of us, the specif ic materials played can be tailored to each individuals level and reper- toire demands and may evolve with development of increased strength and facility. After some 60 years of teaching and playing the violin, puzzlement over the differ- ences between individuals led Leopold Auer to write, 'How are we to explain the fact lhat two hands, belonging to two ditTerent human beings, which appear to be identical in size, with f ingers which seem to be equally long and strong, neverlheless differ altogether in their action? Experience may show that the fingers of one hand need to be kept continually active in order to retain their flexibility; while the fingers of the other may not be used for weeks at a time and yet, after some slight finger-gymnastic work and a small investment of rime, regain all their agility and be ready to perform their functions perfectly.'For both these players there is a wealth of material from which to design an effective warm-up routine. The components of the warm- up should address each hand5 positions and specific tasks. The left hands success depends upon a relaxed and balanced grasp of the instrument, elasticity for stretching, finger independence and accuracy, shifling, velocity and vibrato. The right hands work begins with reinforced awareness of a balanced bow hold and arm location, and continues with issues of smooth changes in all parts of the bow, control of speed and contact point, string cross- ings, bowing patterns, distribution, articulations, attacks, releases, dynamic range and tone colour. Research of string pedagogy would indicate that there exists an exercise for virtually every conceivable mechanical motioh of the hands and fingers and efficient time management encourages choosing material which addresses several issues at once. The wealth of exercises can be divided into four broad categories: l. finger independence and stretching 2. shifting 3. double-stops 4. bowing within each category are materi- als of various levels of difficulty. while scales and arpeggios of one to four octaves play a major Part in the warm-up routine and can be imaginatively used in each of the [our categories, other exercises which concentrate on specific Hold whole notes silently /^\ | - v n a a a ot mork Technique) and violists pdl Lukdcs (t O Exercises in Change oI Position\, Louis Kievman (Practicing the viola (Violin), Ment olla-Pha sicalla) and Katrina Wreede (Violaerobicsl, the last two also available for violin. Some of the best warm-ups are anecdotal, handecl down orally for genera- tions through the grapevine from player to player, perhaps with EXAITIPLE lq: Corl Flesch, Urstudlea exercise I C EHiIPLE Ib: Dounls Dolly Dozen, exercise lAo (obove), 1 Bo (mlddle) ond I Bg Ibelow) EXAMPLE Ic: Bow-lilting exercise Step 2 etc EXAMPLE 2q: smooth bow chonge exercise EXAMPLE 2b: Wreede, Yioloerobics, exercises 26 (obove) ond 35 physical movements are invaluable for saving time. My favourite exer- cises are those designed so cleverly that optimum hand posi- tions and physical movements happen naturally, such as Samuel trlorb Exercise of the Independent Fingers (example +br. Sevdik op. r part 4 (example 7c) and virtually all of the Doun.is DoilA Dozen. while the violas size and response characteristics make aspects of both its left- ancl righr- hand technique differ from the violins, it is in the vast amount of published instructional material for the violin that the most therapeutic warm-up exercises may be discov- ered. Many of these have not yet been published in viola versions, but are easily adapted by trans- posing down the interval of a fifth. Some of the hand expansion and extension exercises common to advanced violin technique (tenths, parallel fingerecl octaves in lower positions) could be injurious to violists, and care must be taken to ensure that stretching exercises are but gentle and gradual increases beyond the players present capability. In addi l ion ro volumes by eminent leachers of the past - Hans Sitt, Carl trlesch, Otakar Sevdik and D.C. Dounis - unique and innovative modern contributions have been made by Ruggiefo Ricci (Lelr-Hond Violin a a a ot mork : - a I o o o C f. 5 o s -' b o 6 d R o l 3 c -' o o 3p. o o I J J ! c 5 -E o J o o E. c o c 2 (c F o o^ d.C o o o .g o E l 6' 0. q 5 o = J o C d' c c o o o l e embellishment along the way. My favourites among these are Josef Gingold's legendary'One Minute BoW from frog ro tip (and rip ro frogt. and a left-hand exercise attributecl to Brodus Earle, using fingers in sequence of 2-4-t-3 in x at q = 144, tor l5 seconds. Step 4 - 1 - - - - 4 l _ _ _ _ _ _ _ _ Just as in any athletic endeavour, the materials used to warm up can be bolh a means of preventing as well as a possible cause of tendonitis and other injuries. tn the words of Flesch, the Sevdik studies, as a whole, may most appropriately be compared to a medicine which, according to the size of its doses, kills or cures. .. All in all, I regard lthem] as the most important and time-saving means for obtaining a modern violin technique, providing that they are used in the right way.' The Korgueff Doub,le-Srop Exercises and many by Dounis also temperature and playing in slow tempo without tension. A teacher's opinion concerning the appropriate level of clifficulty and some profes- sional guidance through a gradual progression of increasingly difficulr rhaterial would be helpful to the non- professional player. Scarcity of practice time is not a problem unique to life in the pres- ent day. Compilations of concise and varied exercises useful as warm-up malerials for lhe less advanced player include Hans Sitts Procticol Viola Method, Simon Fischer's Basics and Louis Kievman's P racticing the Viola (violin), Ment1lla-Phasicallg, as well as Marie-Thdrdse Chailleys Exercices Diuertissants et Pieces Brdues, unique for their meticulous clarity in teaching bow distribulion along with basic technique. trranz Schmidtner's Tdg liche Studien, Watson Forbes' Book oI Daila Exercises and Chailleys Exercices Rationnels are designed to help the more advanced and profes- sional violist maintain technique. Flesch published the firs|emer- gency' warm-up, Urstudien, 'for violinists who have but one half hour daily at their disposal for mechanical studies, that is to say teachers, orchestral musi- cians as well as amaleurs of ability and also concertizing D(AMPLE 3or Lukdcr 70 Exercises in Chonge ol Pos/l/on, exercise I EXAMPLE 3b: Rlccl, teft- Hand Violln Technlque , exercise 80b EXAIiIPIE 3c: Dounls, Arllsf s Technlque op. 1 2, from p,26 (obove) ond 3l EX iTPLE 3d: Dounis Doily Dozen, exercise 6o EXAMPIE 40: Whlstler. Fssentio/ Fxefclses ond Ffudes, p,4l ond I I EXAMPIE 4b: Flor, Ihe Posflons - Exerclse of Independent Fingers EXAIT'PLE 4c: Dounis Dallv Dozen, exercise 1c p su lG 3 - 2 - r - 2 - 3 4 - 3 - 2 - t - 2 - 3 4 - 3 - 2 - t _ 2 _ 3 (A) o n^ V4--_ pose this dilemma. Common sen,se ffi ffi::::,:*'jil::111'.." erc i-Il) Hold squore notes silently, ond keep oll fingers down os long os possible --- .-------:\- .----=-\ O(4tr$PLE 5: Dounls Doly Dozen, exercise I I EXAIYIPLE 50: Sevdik op,l port 4 no,6 EXAMPIE 6b: Ricci, Left-HondViolin Technique, exercise 90 EMI'PLE 6C: Gloser/y'iolo Jozz Chord Studles for Vloiln p.36 BboT 4 soloists, when travel l ing. ' Students who aspire to become profes- sional musicians should note that Flesch dicl not ntention them a-s likely candidates! [,rrstudien begins with si lent left-hand exercises for [ inger independence. strelching. shif t ing, lateral and transverse movement, each with prescribed amounl of practice time ranging Irom | /2 to 4 minutes (example I a). In total, 15 l /2 minutes are allocated to left-hand exercises and 15 to bowing work. Perhaps the most ingenious and t ime-saving compilat ion, certainly lhe most treasured piece of pedagogy in my library, is The Dounis Violin Plaaers' Dailu Dozen, designed to ger rhe player 'into form in the shortest possible t ime'. Dounis gently advises 15 timeless, common sense'rules', such as' in practising f inger- exercises walch your bow: in practising bow-exercises observe a good posit ion of the left hand. Try to forget the existence of the thumb; never press i l against lhe neck of the viol in. Do not str ike the fingers with too much force; cultivate a very sudclen and elas- t ic springl ike f inger act ion. Retain always a balanced hold of the bowi try to feel every stroke with your f ingert ips. Cult ivate at al l t imes a feel ing of absolute comfort while practising. ' After silent exercises (example I b) similar to Urstudien, there follows an exercise with the bow which I like to play very slowly, making the first note of every four a drone, as well as rapidly for facility (example 4c). Nexr there are vertical and sliding SOURCES OF MATERIALS Auef Leopold Violin Ploying As I Teoch lt, Dover Publicolions Inc., I 980 (origin0l edition Frederick A. Stokes Co., NY I 92 I ) Ch0iffey, M0rie-Th6tdse Exercises Diveiissonls et Pidces Brdves, Leduc, I 974; 20 EIudes Expressives en Doubles Cordes pour ollo, Leduc, l98O; 40 Exercices Rotionnels poul o#o, Leduc, I 966 Doncl0, Ch0rfes School of Velocityop.-14 Dounis, D.C. The Artisl's Technique of Violin Ploying op.12, Corl Fischet 1921; The Dounis Violin Ployers' Doily Dozen op.20, Horms (W0rner Bros), 1925; Specific Technicot Exercises for Violo op.25, C0rl Fischer, 1953 Fischer, Simon Bosics, 300 Exercises & Ptoctice Routines for the Violin, Peters Edilion Limited/Hinrichsen Edition, I gg7 Flesch, C0rl The At of Violin Ploying, Cotl Fischel NY, 1939; Scale System, C0rl Fischet 1942; Ursludien, Corl Fischer, l94l FfoL S0muel The Positions, Henri Elk0n l\,4usic Publ isher, '1975 Fo]bes, Wolson A Book of Doily Exercises for Violo Ployerc,0UP, 1949 Gf0ser, MotilYiofo, Joseph Jozz Chord Studies for Violin, Berklffi Press Publicotions, I 984 Kievmon, Louis Ptocticing lhe Vioto (Violin), Mentolly-Physicolly, Kellon Publicotions, I 969 Korgueff, Serce Double-Stop Fxerclses, Boslon Conservolory of Music, 1 926 fteutzet 42 Studies, ed. Blumenou, G. Schirmer Inc. , 1950 Lukdcs, Pdf | 0 Exercises in Chlnge of Posilion for Violo, Edilio Musico Budopesl, I 960 M0z0s, F. Etudes Specioles op,36; Etudes Brillontes op.3q Ricci, Ruggiero, Left-Hond Violin Technique, c. Schirmer Inc., I988 Rouelli 12 Coprices op,3 ond op.5 Schmidtnet Frcnz Togliche Sludien fAl Brotsche,Sikorski, I 957 Schr0dieck, Henry School of Violin (Violo) Technique, vol.l ll Sevcfk, Otokor Schoot of Technic op. I p0rls I 4, Bosworth & Co., I 952; Shifting op.8, Elkon-Vogel (Presser), 1 946; Prcporotory Studies in Double-Stopping 0p.9, Bosworih, l990 Sitl, H0ns Double-Stop Etudes op.32, Kunzelmonn, 1982; Procticol Violo Melhod, Corl Fischer, 1924: Technicol Studiesop.g2 book 3 (Double-Stopping), oito Forberg (Corl Fischer), I 905 Trotl, Josephine Melodious Double-Slops for Violinbooks l-2 (first position), G, Schirmer lnc. , I 931 Whistler Essen/lol Exercises ond Etudes for Violo, lntermediole Course for Ftrsi Posilion, Rubonk ,1954 WIeede, Kolrin0 ViolIerobics, (0lso for violin), Vlozville lVusic (M[/B Music, Sl Louis), 1993 f inger exercises, thirds, and then shift ing (example 3d). Among the bowing exercises is one'to develop a powerful, large tone' (example 5). To play al l twelve exercises careful l) 'may take an hour or more, but Dounis makes good his promise to help the player regain'that feel ing of ease, f luency and surety which the viol inist experiences at the end of his dai ly practice. ' Below is my recommended plan for an eight-step warm-up. Choose one i tem of appropriate dif f iculty from the l ist of possible materials for each step, wi lh the exception of the double-stops (7), from which several dif ferenl exercises could be played i l t ime al lows. A strategic etude (a) is optional, and i t could be replaced with rapid passagework from the da)rs repertoire. some steps may lle more beneficial to some individtt- als than others, and advanced players could shorten the warm- up to steps 3-4-6 7, Played with slow bow speed and constant a l len l ion lo lone qua l i l ) l . Si lent f inger exercises sucn as Urstudien (example I a) (violists might avoid Urstudien exercise I B); Doulris Daila Dozen exercise I (example I b). After a few moments spent with the bow- t i l t ing exercise (example I c), these could be done simullaneousl) ' with lhe Gingold anecdotal One Minute Bow. 2. Long tones played with smoolh bow change exercise (example 2a) before a mirror to check bow's contact point, then various left-hand f inger exercises played slowly for intonalion accu- racy, especially combinations such as o-1 , o 2 e tc , a l l w i th vibrato once inlonal ion is securc. Choose from materials such as Sitt Pr1ctical Viola Method, Dancla School of velocitu op.74, Wreede violaerobics (example 2b), Schradieck vol. t , Sevdik op. t par rs l r . 3. Shift ing: one octave Flesch Scale SUStem scales. arpeggios, broken thirds; SeVCik op.8. Lukdcs I O Exer( isds in Change oJ Position (example 3a), Ricci LeJt-Hand violin Technique (example 3b), Dounis op. l2 (exam- ple 3c), op.25 or D]i lg Dozen (example 3d). 4. Strength/stretching: whist ler exercise (example 4a), Flor exer- cise (example 1bl, Dounis Daila Dozen exercise I (example 4c) through fourth position with verY slow bow and drone. 5. Toneistring crossings: Doun.is D1ilA Dozen exercise I I (example 5) . o r s in l i la r made-up exer . i se wirh different double-stops, played very slowly with vibrato, and with dynamic plan of crescendo from pp rc ff on the down-bow and the reverse on the up bow. 6. Three-octave scales and arpeg- gios with stralegic bowing patterns and key signatures from repertoire, Vibrato work, different distributions, dynamic plan. prescribed articula- tion or rh).1hm etc. For ear training challenge this material could be supplemented with Seviik (example 6a), Ricci (example 6b) or GlaserNiola Jazz Chord Studies for Violin (example 6c). 7. Double-stops: Trott Melodious Dcruble-Stops books l-2 (example 7a), Sitt Technical Studies op.g2 book 3, or Double-Stops Etudes op.32; Chailley vingt Etudes Exprc-ssiues en Doubles Cordes, Schradieck vol.2, Korgueff Double- Stop Exerc.ises (example zb), Sevdik op. I part 4 (example 7c) or op.g; Dounis op.12 (example 7d), Ricci (example 7e). Experience wilh a variety of intervals ancl key signatures is important. 8. Stralegic etude to address specific problem, such as Mazas, Kreutzer, Rovell i etc; materials of step 2 played rapidly, or passagework from repertoire. E Step 7 EXAMPIE 7b: Korgueff, Double-Stop Fxercises 3 ' l G - r 2 l/ '- 1 b ) j i L ' r ' r L ? L z u ) Ll a ) O n G a n d D 1 2 2 2 23 3 EXAMPIE 7c: Seveik op.l port 4 EXAMPIE 7d: Dounis, op. I 2 p,58 I L I )t 4 i 3 4 r l i i H:":'::;;i"'