Movement Book

to
Tke
and
Author of
NEW YORK
By H. M. SHAPIRO
Plkysical Approacli
V iolinisiic ProMemns
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OMEGA MUSIC EDITION

ETUDES-CAPRICES FOR VIOLIN
EIGHT MODERN STUDIES FOR VIOLIN
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
PRINTED IN U.S.A.
COPYRIGHT 1954 BY OMEGA MUSIC EDITION, NEW YORK

INTRODUCTION
The standard repertoire of solo, orchestral or chamber
music which violinists are nowadays called upon to perform,
definitely assumes their technical equipment to be of a high
order.
Although a player may fortunately possess such natural
endowments as: fine musical instinct, fertile imagination and
a warm temperament, these desirable and, indeed, necessary
attributes nevertheless do not yet suffice to produce artistic
results; they must be merged with commensurate technical
skill. Hence, every ambitious player is obliged to devote his
continued efforts toward perfecting his mastery of the
instrument.
In his endeavor to obtain this objective, the player must be
cautioned against adopting the notion that mere tenacity and
repetitious practicing are all that is needed to assure mastery
of a difficult passage. This is illusory because it fails to consider
that technical mastery is unrealizable if the means employed
are inappropriate.
It is self-evident that successful rendition of technical pas-
sages are possible only if the parts of the body used to project
them are structurally capable of engendering a requisite mobil-
ity. This vital factor in violin-playing when ignored or inade-
quately understood, invariably is the retarding element blocking
a player's progress. Moreover, the misapplication and abuse of
overtaxed muscles can lead to rather serious consequences such
as, partial or even complete parallization of the affected parts
of a player's body. Unfortunate victims of this condition, in
their frantic efforts to find relief, have been known to submit
to medical treatment for "occupational disease," (allegedly the
cause of their unhappy plight) whereas the real cause, as
indicated, had its origin elsewhere. The importance of the
physical approach in the solution of violinistic problems, there-
fore, hardly needs to be overstressed.
This slender booklet, obviously, cannot contain a complete
exposition of its announced subject; that is not its purpose.
What has here been intended is: 1) to outline the broad fea-
tures of violin technique, 2) show wherein they relate to the
use of appropriate parts of the body, 3) offer some suggestions
for the player's guidance. It is necessary to point out that cer-
tain problems elude general formulation because their applic-
ability is limited to specific body formations and require the
teacher's personal contact with the student.
The reader may find occasion to take issue with some, or
perhaps all of the ideas offered here; nevertheless, my modest
efforts will have been amply repaid if they but elicit further
interest and discussion leading toward mastery in the art of
violin-playing.
H. M. Shapiro
TABLE OF CONTENTS
THE BODY AS A MECHANICAL STRUCTURE
Page 9
THE RIGHT ARM
Page 9
THE LEFT ARM
Page 12
RELAXATION
Page 20
THE APPLICATION OF POWER
Page 21
STRING CROSSING
Page 23
ECONOMY OF MOVEMENT
Page 26
RESUME
Page 29
THE ROLE OF THE TEACHER
Page 30
SOME COMMENTS ON METHODS
Page 31
of the organism."
JESSE FEIRING WILLIAMS

"An artistic life is one that functions fully,
beautifully and in accordance wth the nature

THE BODY AS A
MECHANICAL STRUCTURE
Considered exclusively, from a mechanical aspect, the
art of violin-playing assumes the general characteristics of a
specific physical activity employing certain parts of the body.
Involved directly (because of their intimate contact with the
instrument) are the player's arms and fingers, and indirectly,
his head, neck, shoulders and legs.
Since the player's arms and fingers are the predominant
factors in this process, his first concern must be to ascertain
the extent of their normal functional capacities, so that he may
utilize them advantageously. It is useful to reiterate that tech-
nical mastery of the violin is unrealizable unless each of the
engaged body elements functions in accordance with its normal
structural capacities.
We commence our study with an examination of the func-
tions of the right arm.
THE RIGHT ARM
A. As a Complete Unit (See musical examples below)
1. Effects smooth transfer between non-adjacent strings
(e.g., G to E; D to E strings, etc.).
2. Serves to transmit power from the body directly to the
bow.
9
B. The Upper Ann
Leads the movement from the nut to the middle of the
bow.
C. The Elbow
Maneuvers the arm so that the bow always remains on
the level with the string upon which it rests.
D. The Forearm
1. Manipulates the bow from the middle to the point in
moderate tempo.
2. Facilitates change of bow, with the assistance of the
wrist, during rapid movements.
E. The Wrist
1. Is generally employed in rapid and narrow movements.
2. Aids in carrying out smooth connection between adja-
cent strings.
3. Assists the whole arm during arpeggiated movements.
F. The Knuckles
Regulate the transmission of power from the arm to the
fingertips.
G. The Fingers
1. Serve as intermediaries between the arm and the bow.
2. Create the essential "bite" that gives impetus to the tone.
3. Project the nuances and dynamics required by the
music. *
The rig-ht arm moves as a unit at * S.Prokqfieff: Concerto No. 2
Allegretto _
10
"The player is referred to my ETUDES-CAPRICES (10 clarifying studies for
bow control). Omega Music Edition, New York.

i
B. Wieniawski: Polonaise in D major
Allegro
Moderato
B. M. Shapiro: Etudes- Caprices, No.IV
^y^">^| f^p/t I^T-^Tl F^r/Tl
ff' aa mm
p middle
Allegro moderato
B.M.Shapiro: Etudes-Caprices,No.VII
* tf
3'
ii i
,3 .aF>:. oxn
M. Bruch: Scotch Fantasy
n
Additional Remarks
It is essential that the arm and wrist movements be co-
ordinated so that neither interferes with the function of the
other. The knuckles, which are totally disregarded by many
violinists, serve a definite purpose insofar as they are the
medium for transmitting power from the arm to the fingertips.
When raised, they withhold the power from the arm reaching
the fingertips; by lowering them, the hand is made pliable and
thus can allow power to flow into the fingers. The knuckles
have, therefore, a decided effect upon the clarity and quality
of the tone.
The individual fingers have specific functions which they
fulfill as intermediaries between the arm and the bow; when
a full resonant tone is sought, the mere weight of the fingers
on the bow (without the assistance of the forearmwhich
should hang somewhat from the fingers) wiU suffice. At no
time, however, must the freedom of the wrist be curtailed,
otherwise a cramped and scratchy tone will emanate from the
instrument. Due to their immediate contact with the bow, the
fingers are the media that project the wide gamut of nuances
which enliven a player's performance.
The finger-spread on the bow varies in accordance with the
shape and size of individual hands; a narrow hand demands
that the fingers be separated so as to control a larger area on
the stick; a wide hand may dispense with finger separation
since there is already ample coverage to ensure control.
THE LEFT ARM
The various parts of the left arm function as follows:
A. The Fingers
Locate the exact spot for each sound on the finger-
board.
12
B. The Wrist
Assists the fingers in shifting between the first and
third positions.
C. The Forearm
Coordinates with the fingers and wrist during shift-
ing, to the upper positions.
D. The Upper Part
Becomes active only in the extreme register of the
instrument (near the bridge).
E. The Elbow
Provides the proper angle for the man beneath the
instrument.
The Position of the Instrument
The technique of the left arm is greatly influenced by the
manner in which the instrument is held. In order for the vari-
ous parts of the arm to move freely, the proper placement of
the violin must be established following careful consideration
of the physical characteristics of each player's arm, since there
are different arm-lengths, sizes and shapes of fingers (with
their wide and narrow spaces between knuckles) to contend
with. If a player possessing long arms places his violin
directly in front of his chest, he will find himself compelled to
push the bow forward so that it lands too far over the finger-
board. His attempt to bring the bow closer to its normal area
(that is, near the bridge) will force him to draw his arm in and
induce a cramped position. Similar results will prevail when
the short-armed player places his instrument too far to the
left of his body. He will then be forced to extend his right
arm which will, as a result, flounder too far from its appro-
priate orbit.
To prevent these complications, a player whose arms are
long must adjust the position of his instrument by moving
13
it somewhat to the left of his body. This will widen the distance
between both of his arms and thus make possible for the bow
to move freely and parallel to the bridge.
Violin directly in front of chest Bow in proper area-
bow forced too far over fingerboard. violin shifted slightly left of chest.
The player whose arm and fingers are short, must bring the
instrument closer towards his chest so that the space between
both arms will be narrowed. This will enable him to manipu-
late his bow more comfortably. He may encounter some diffi-
culty in maintaining the rounded shape of his fingers as they
attempt to play on the G or D strings, since they will have
become less elastic, and in their discomfort, adversely affect
the intonation. The proper placement of the elbow under the
instrument can, in such instances, greatly contribute toward
easing this difficulty. When playing on the G and D string he
should bring the elbow closer to his body. I would also advise
him not to hold his violin up too high and to place his thumb
closer toward the saddle of the instrument. This will release
14
the muscles of the hand and enable the fingers to extend them-
selves comfortably over the strings with salutory effect on the
intonation. The player must be careful not to fix his elbow so
that it becomes rigid, for this will hinder the blood circula-
tion and induce arm fatigue.
Fingers on G and D strings Thumb shifted closer to the saddle,
elbow brought closer to the body.
It is important that the pressure on the strings emanate
from the tips of the fingers rather than from the arm, because
the latter has a tendency to constrict the muscles of the hand,
and often the entire arm.
Violinists whose finger muscles are weak, must seek to
strengthen them by means of specialized exercises such as the
following, which I have expressly devised for this purpose:
15
16
Special Finger Exercises
A. l.To Strengthen the Finger Muscles
B. [To be practised without vting-the iow\

17
II. To Develop Independence

*
II
18
2 II
2n

rf
vrrrr frrfrf
g IH tr *r | r7 g
III. For widening the space between knuckles
* Hold the bracketed notes down without sounding-

Shifting
The atonal character of contemporary music, which is usu-
ally cast in the extreme and unfamiliar registers of the instru-
ment, has vastly increased the technical demands on the player
and thus has further exposed his competence. Problems of the
left-hand technique have, as a result, become immeasurably
more complicated. The unprepared violinist in his strenuous
attempt to manipulate swift position-changes encompassing
the entire length of the fingerboard, often finds that his arms
have a tendency to stiffen and, at moments, to become seem-
ingly paralyzed. His intonation may become affected because
the new music, with its strange intervals, no longer permits his
ear to maintain its accustomed role.0 He will be wise to re-
examine his method of shifting, since that is usually the real
seat of his difficulty.
Although accepted methods of shifting utilize either the
entire arm or the forearm, I regard both as somewhat imprac-
tical if considered from the point of view of achieving security
or speed. It is definitely more advantageous to allow the fingers
and wrist assume the- initiative in shifting, because their
shape, elasticity and sensitive reaction impel them, when
spurred on by the wrist, to easily manipulate intervallic spans.
They are thus able to move unimpededly over the entire finger-
board while carrying the forearm along; and when necessary,
even the entire arm, so as to reach the very highest positions.
The benefits that result from adherence to this method also
preclude the tendency to grip the instrument too firmlyan
unfortunate practice that leads to stiffening of the neck and
arm muscles.
The accumulated problems connected with the technique
of the left arm can be brought under reasonable control, pro-
vided the player has become adequately equipped to analyze
them and then project the practicable course of action that
can provide for their proper solution.
19
This consideration has impelled me to publish my EIGHT MODERN STUDIES
FOR VIOLIN (to obtain fingerboard mastery). Omega Music Edition, New York.
RELAXATION
The teacher must, at every opportune moment, call the
student's attention to the need for absolute freedom of move-
menc and the lessening of tensions. General references to re-
laxation do not, however, indicate what, when and how to
relax, the student, consequently, is unable to understand why
certain parts of his body had become tensed. It is, indeed,
ironic that a player should be unaware of accumulated ten-
sions except as he experiences acute discomfort. The moment
relaxation must take place is after any part of the body has
been involved in carrying out a technical effect that required
energetic effort. Some musical examples follow.
i -.Relax the forearm H.M.Shapiro: Etudes-Caprices, No.II
20
THE APPLICATION OF POWER
The generally accepted notion among violinists is that
to draw a full tone from their instrument it is necessary to
exert additional pressure on the bow, and conversely, to pro-
duce less tone, to lessen the pressure. This conception should,
in my opinion, be regarded with extreme caution because:
a) Not every portion of the bow reacts to the same degree
of pressure; for example, the point demands more concentrated
pressure than the nut, inasmuch as the extremities of the bow
are unequal in weight.
b) Whatever portion of the bow is used, the pressure, if
misapplied (either forced or without sufficient force), the re-
sultant tone quality will be impure.
c) Intense pressure will constrict the muscles.
21
The production of a pure, soft tone demands absolute con-
trol, and is possible only if the bow, throughout the movement,
is held firmly so as to prevent its resting upon the string. A
proposed motto to remind the player of this is: "The bow on
the string must be as equally controlled as the bow off the
string."
A full, round tone can, in many instances, be produced
without resorting to extra pressure. This will occur when:
a) Long strokes are used in fairly rapid succession.
b) The bow receives added impetus.
c) The bow gathers momentum as it moves across an ex-
tended passage and is hastened during the latter portion
of the passage, thereby anatomically producing a
crescendo. Some musical examples follow.
Application of Power
F. Kreisler: Praeludium and Allegro
22
STRING CROSSING
In passages where there is consecutive movement across
the four strings, the player must concentrate on achieving an
equalized weight of tone. This can be accomplished if the
hand (holding the bow) leads the movement, while the elbow
adjusts the arm position. Observing this procedure, the bow
will be drawn into the strings and thereby create the necessary
"bite" and power required for adequate sonority. Some musical
examples follow.
23
Incorrect positionwrist and Correct position for string crossing-
forearm leading the movement. hand leading the movement.
Examples of String: Crossing:
Moderato * Kreutxer: Etude No. 10
R. Kreutxer: Etude No. 20
24
25
6- Allegro nontroppo - _ ^
ff. Vieuxtem.pt: Concerto in A minor
^ Allegro maestoso N.Pagunini: Concerto No. 1

ECONOMY OF MOVEMENT
Virtuosity is a composite of mobility, brilliance and ele-
gant delivery. Every serious-minded player must be inspired
to constantly seek the attainment of this ideal combination. A
prerequisite to its realization is the removal of all superfluous
movements by any of the body units involved in performance.
Allegro non troppo ** SW: Ktude - Caprice*, No. I
26
28
i A !j E I A
L D i !_A_J! D
M. Bruchi Scotch Fantasy

Ed. Lato: Symphonie Espagnole
Ed. Lato: Symphonie Espagnole
Allegro non troppo Saint-Saens: Concerto inB minor

piu lento
Ed. Elgur: Concerto in B minor
animato .
leg-g-iero
Joh. Brahmt: Concerto in D major
V _ $ _J
RESUME
To acquire velocity, smooth performance and an even,
steady tone with a minimum expenditure of time and energy,
the violinist will profit if he adheres to the following recom-
mendations:
a) First analyze the technical problem that is presented
and then proceed to determine the necessary means of solv-
ing it.
b) Carefully select the appropriate units of the arm to
be used.
c) Be at all times aware that sonority and varied nuances
are influenced and controlled solely by the fingers on the bow,
since no other part of the arm has this intimate contact with it.
d) Remember that whenever several units of the arm are
29
needed to carry out a specific task, they must be completely
coordinated if the end result is to be successful.
e) Use the parts of the body involved in any technical
effort with utmost economy. This will make possible a con-
tinuous and unimpeded performance.
f) Maintain a constant and steady grip on the stick while
the bow moves across the string.
It is a recognized fact that certain bow manipulations are
associated with specific muscular contractions. Mindful of this,
the alert player will be on guard to counteract the tendency.
I will here indicate a few instances when and where these
contractions might arise. They occur when:
a) Inappropriate parts of the arm attempt unsuited me-
chanical movements.
b) Dynamics such as forte, crescendo, and other forms of
accentuation are to be effected.
c) An endeavor is made to execute martele, staccato,
volant, and similar types of bowing.
It is necessary to point out that although correct portions
of the right arm may be employed, the failure to channelize
the power and energy derived from the arm to the bow, via
the fingers, is bound to cause muscular tension.* The following
musical examples contain instances where such problems might
anSe: Py. 2C-21 f.>f mosk er
THE R6LE OF THE TEACHER
A competent violin teacher is one who possesses the
following essential qualities:
1. Mastery of his instrument.
30
Tensions attributable to psychological sources are not here referred to, since
they are extraneous to my subject.

2. Consummate musicianship
3. Practical experience
4. Patience
5. Initiative
6. Inspiration
7. Ability to evaluate the physical and psychological make-
up of each student.
That inspired and competent teachers are available today
is a fact proven by the increasing number of young and excel-
lent performers whose dexterity and handling of their instru-
ment amaze and delight us. This can be attributed mainly to
the efforts of alert teachers who constantly explore newer and
more effective means whereby their students may acquire
rapid mastery of their instrument. There are, however, many
teachers who, in my opinion, suffer from an "authority com-
plex" which restrains them from seeking solutions to the ever-
challenging problems connected with their work. They assume
attitudes of uncompromising fanaticism which stem from a
disinclination to depart from fixed and prescribed methods
serving to conceal their inability when confronted with un-
familiar problems.
SOME COMMENTS ON METHODS
Regarding the question of methods, one can ascribe to them
the virtues and value of the accumulative experience of cer-
tain pedagogues. They can be considered as guides only for
those unable to find original solutions to specific problems.
Teachers should, nevertheless, familiarize themselves with as
many of the extant methods as possible, in order to widen their
31
own scope of knowledge. This eventually will help them de-
velop a proper orientation for arriving at their own con-
clusions.
In general, I would consider a method to be somewhat like
a frozen substance: before being used, it should be heated by
the glow that comes from eager searching, filtered through the
intellect, and then applied only if and when the student is
absolutely in need of it.
32

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OMEGA MUSIC EDITION

COPYRIGHT 1954 BY OMEGA MUSIC EDITION, NEW YORK

The standard repertoire of solo, orchestral or chamber

music which violinists are nowadays called upon to perform,

definitely assumes their technical equipment to be of a high

Although a player may fortunately possess such natural

endowments as: fine musical instinct, fertile imagination and

a warm temperament, these desirable and, indeed, necessary

attributes nevertheless do not yet suffice to produce artistic

results; they must be merged with commensurate technical

skill. Hence, every ambitious player is obliged to devote his

continued efforts toward perfecting his mastery of the

In his endeavor to obtain this objective, the player must be

cautioned against adopting the notion that mere tenacity and

repetitious practicing are all that is needed to assure mastery

of a difficult passage. This is illusory because it fails to consider

that technical mastery is unrealizable if the means employed

them are structurally capable of engendering a requisite mobil-

ity. This vital factor in violin-playing when ignored or inade-

quately understood, invariably is the retarding element blocking

a player's progress. Moreover, the misapplication and abuse of

overtaxed muscles can lead to rather serious consequences such

as, partial or even complete parallization of the affected parts

of a player's body. Unfortunate victims of this condition, in

their frantic efforts to find relief, have been known to submit

to medical treatment for "occupational disease," (allegedly the

cause of their unhappy plight) whereas the real cause, as

indicated, had its origin elsewhere. The importance of the

physical approach in the solution of violinistic problems, there-

fore, hardly needs to be overstressed.

This slender booklet, obviously, cannot contain a complete

exposition of its announced subject; that is not its purpose.

tures of violin technique, 2) show wherein they relate to the

use of appropriate parts of the body, 3) offer some suggestions

for the player's guidance. It is necessary to point out that cer-

tain problems elude general formulation because their applic-

ability is limited to specific body formations and require the

teacher's personal contact with the student.

The reader may find occasion to take issue with some, or

perhaps all of the ideas offered here; nevertheless, my modest

interest and discussion leading toward mastery in the art of

THE BODY AS A MECHANICAL STRUCTURE

THE RIGHT ARM

THE LEFT ARM

THE APPLICATION OF POWER

THE ROLE OF THE TEACHER

SOME COMMENTS ON METHODS

JESSE FEIRING WILLIAMS

beautifully and in accordance wth the nature

Considered exclusively, from a mechanical aspect, the

art of violin-playing assumes the general characteristics of a

specific physical activity employing certain parts of the body.

Involved directly (because of their intimate contact with the

instrument) are the player's arms and fingers, and indirectly,

his head, neck, shoulders and legs.

Since the player's arms and fingers are the predominant

factors in this process, his first concern must be to ascertain

the extent of their normal functional capacities, so that he may

utilize them advantageously. It is useful to reiterate that tech-

nical mastery of the violin is unrealizable unless each of the

engaged body elements functions in accordance with its normal

We commence our study with an examination of the func-