E: Q

SHIFTING DEVELOPMENT STUDIES by Gordon Epperson Fronk Spinosa & Harold W Rusch

~go$ NEIL A. KJOS MUSIC COMPANY SAN DIEGO, CALIFORNIA

CELLO 81CO

I&TC -INC~

SHIFTING DEVELOPMENT STUDIES by Gordon Epperson, Fronk Spinosa & Harold W Rusch

rp II&..A ICX)S flo«JSJC CCNFIHI SlfiJIID£GO. ~

2

The Authors Gordon Epperson is currently Professor of Violoncello at the Universi-ty of Arizona in Tucson. Eminent as a teacher for many years, Dr. Epperson has edited pedagogical works and performing editions of cello literature. Before accepting his current position at The University of Arizona, he taught at the Universi-ty of Puget Sound, Louisiana State University, The Eastman School of Music and The Ohio State Universi-ty. Many of his summers have included teaching at various music camps including the National Music Camp at Interlochen, Rocky Ridge Music Center in Colorado and Transylvania Music Camp. Dr. Epperson is acclaimed worldwide as teacher and performer and has concertized in Europe, Canada, New Zealand and the Far East. His extensive repertoire embraces the cello literature of the 18th, 19th and 20th centuries. Many of his concerto performances have included appearing with Eugene Goossens, Sir Thomas Beecham, Erich Leinsdorf, Howard Hanson, Charles Munch and Arthur Fiedler.

Frank Spinosa is internationally recognized as a violin soloist, conductor, chamber musician and violin pedagogue. DJnng past summers he has been artist-in-residence at International String Festivals where he has performed with the New M String Quartet and has conducted International String Festival Orchestras. He has been advisor to the Universi-ty of Illinois String Research Project directed by Paul Rolland and has served numerous times as Headmaster for the Universi-ty of Illinois String Summer Youth Division.

~violin soloist, Dr. Spinosa has appeared with the Phoenix Symphony and with other orchestras in the United States. In addition to his position as 1st violinist in the New M String Quartet, he is currentfy professor of Music at Arizona State Universi1y.

A native of Wisconsin, Harold Rusch, is noted around the world as composer, music educator and clinician. After his graduation from Lawrence University in Appleton, Wisconsin, Mr. Rusch started a lifelong career in music which began with teaching.

For over 25 years, Mr. Rusch taught in the Wisconsin Public Schools. During his teaching career he also spent much of his time composing music for school orchestras and bands. Due to the wide acceptance of his compositions, he quit teaching and worked full-time writing methods and concert pieces.

Mr. Rusch continues to actively participate in the musical growth of the country as writer and consultant. He is also represented in the International Whos Who of Musicians.

TABLE OF CONTENTS FOREWORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 GUIDELINES FOR SHIFTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 UNIT ONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Preliminary Dexterity Etude 1 .. ... .... . .. .. .. . ................ . Joseph Werner Etude 2 ... . .... . ..... . . . .. ..... .... . .. . . . Domenico Gabrielli Etude 3 . .. .. . .. . . .. ....... . .. .. . .... ... .. Friedrich Grufzmacher Etude4 . . . .. . . ... ... . ... . . . .. . .. . .. . ..... Carl Davidov Etude 5 ............ .. .. ... .. .. .... . . . .. .. Rodolphe Kreutzer

UNIT TWO ...... . ........ . . .. ............................ 15 Finger Replacement Shifts Etude 6 . . . .. . ....... .. . . .. .... . .. .. .. .. . . Otakar Sevcik Etude 7 . .. . ..... .... . .................... Rodolphe Kreutzer Etude8 .......... . ..... . ... .. .. . .. .. . . .. . Johann Friedrich Dofzauer

UNIT THREE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Classical Portamento

Shifting from a lower to higher finger ascending and from a higher to a lower finger descending

Etude 9 ...... . . . . .. ....... . .. ..... . . . .. . . Gordon Epperson

UNIT FOUR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Shifting Chromatically Etude 10 .... . .. . .. . .. . . . .. .. . .. . .. ....... Joseph Merk

UNIT FIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Shifting Across the Strings Etude11 .. ... .. . .... .. .. . ...... . . .. . . . ... Domenico Gabrielli Etude 12 .. ... .. . .. . . .. ........... . .. . .... Rodolphe Kreutzer Etude 13 . . .. . ..... . ..... .. .. . ........ . .. . Rodolphe Kreutzer Etude 14 ... . .... . ... . .............. . . .... Niccolo Paganini Performance Application ... . ....... .... . . .................. . ..... 36 Papillon, Opus 77 . .. .... . .. ....... . .. . ... . . Gabriel Faure

ISBN 0-8497-3232-8

~· 1986 Neil A.. Kios Music Company, 4382 Jutland Drive, San Diego, CA. lrtemational copyrigtlt secured. All rights reserved. Printed in U.S.A. .,..IG! The lelct and rrusic in this book are protected by copyright law. To copy or reproduce them

tJr q l!n8hDd is an ir*i IQemellt ot lhe copyright law. Anyone who reproduces copyrighted matter is:&qlla m ~ penallies and assessments for each infringement.

4

Foreword

~ orchestra conductors and string teachers, we have seen a continuing need for instructional materials geared toward the advanced student. Such s1udents benefit immensely if they are aware of the range of technical problems which can arise and know how to solve them before they are faced with problems in performance.

Shifting techniques are one such key area. Left hand mastery of the cello fingerboard demands a thorough knowledge of efficient shifting techniques. This manual is designed to develop proficiency across the entire range of shifting possibilities. In it, we introduce many shifting ideas, classifying each into one of five general categories. Each category has its own set of formulas designed to perfect fluency, balance and accuracy in moving from one postiion to another. These formulas are in 1um reinforced by practical application to specific e1udes.

To allow for flexibility and maximum student gain, all material is presented in such a way that it may be used in both indMdual and homogeneous class instruction.

Guidelines for Shifting

A shift may be defined as any move of the left hand from one position on the fingerboard to another. Fluent shifting is an essential of good cello technique and is necessary for accurate intonation. In acquiring such dexteri1y, cellists should adapt and reinforce these principles:

1. Shifts must be smooth, not abrupt or jerky. 2. Finger weight should be applied to the string at all times, but more

so at departure and arrival points, and less so during the actual transfer.

3. Bow pressure should be released or lightened during the shift to eliminate exaggerated portamento.

4. Excessive tension should be relieved by calm, unhurried practlce. 5. Fluency will be enhanced as the result of practicing with a varie1y

of speeds from slow to very fast. 6. Accurate intonation will be strengthened by balanced and secure

left hand positions through carefully placed chromatic shifts.

6

UNIT ONE Preliminary Dexterity

I. Etude 1: A Shifting be1ween first and fourth positions B. Incorporating shifts with the same finger C. Incorporating shifts with different fingers

1 . from a higher to a lower finger ascending 2. from a lower to a higher finger descending

II. Etude 2: A Shifting through the first four posifions B. Shifting with the same finger C. Shifting with different fingers

Ill. Etude 3: A First finger shifts B. Securing proper finger placements after shifting

IV. Etudes 4 and 5: A Extending the range on the fingerboard B. First finger shifts

Werner Ex.1; a-f Bowing variants

7

Etude 1 a. meas.l ~~ ~

tJ: ~ c r r r r [t¥ tJ ft (t ~Q [ t C1 ~ t II

Etude 1, cont.

Ex.2 4th Position warm-up

~ ~

meas. 6, 2 4 f!:, '2 0 2/~ 4

!1' i e r j rn ft(j r IE j E [ttrnll 4th Pos. 1st Pos. 4th Pos.

Gabrielli Ex.2 Preliminary shifting warm-up

Ex.3 Middle of the oow

Etude 2

Etude 2, cont.

~

rneas. 1 ~ {t 4 2 t t1 :f"t 2 4 t

,, It sf an: E E rsr: E E P' ~ L E I ~ II

3 1 4 2

II

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8 Grutzmacher

E~3 . le Preliminary D MaJor sea

9=# c .=

~~ f

Davidov Ex. 4; a., b. Broken thirds

- I- I nr 0 I - 1-1

I id i ~ j. 3 J

Etude 4 3 2 1

I > > >

fTr If

II

Etude 5 Kreutzer 4

2 1

2 Ex.5;a .• b. 1

• 0 4 @ ~ Brokenfourths 4 0 , 1 4 1 ,

1 4 0 , 1~ ~ lj§ =

1 "!''~tjjg) ill) 1Ufltm 1c

rt'lythmic variant Y

b. !l••e [)QU ~II

II

II

- II

1

Joseph \NemeE All 2 egro moderato 2 / ~ ,

,, i e t E r f E r E E IF E [ f; E j r I L E r; e F r F I r j r r ~ EiiO.I p 4th Pos. 1st Pos.

•)

5 ' f• ¢ g • ,, i f j F f f E C f I F E t f 2 f E f I ~r r C:r Q CJ I E C f r E C C E I

4th Pos. 1st Pos. 4th Pos. 1st Pos.

9

,: ~ E r E fEr E E 1 E c E fEE r E 1 r Err E C r r IF r r r c:r rEI 4th Pos. 1st Pos.

13

2: ~ F E [ f E r f r I F E F f f E e E Iff r E E e Pr If E~e rt F ~ • I 4th Pos: 1st Pos. 2J

1

2= ~ lJ j) tE F r 1•1J J3 E r E F 1 [ c~r r rt ft 1fl1 F r r r~ I 2

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9: ~ rrcrcrr; ltccJ ctraj CFrtcrcr 1 Eocrrrr r 1 aucter 1

39

:-r ~ &trerer 1 tfErn:rr 1 UtfErEE1 EEEf~Err ,errrcrrr1 4th Pos. Ist Pos. 4th Pos. 1st Pos. 4th Pos. 1st Pos.

;,j rrrn:ECfiFcE[fcF[!FrF[ffcfiCFEt!JJ]IjlJ?J ' I - - - . 4th Pol. lsi ....

Middle third of the bow 2 To be practiced on all strings

Allegro moderato Domenico Gabrielli

" 4 ~ :i 4

t1'' 1£rr:i r tc r f re r U F c 1 tr r r r t r; r cr rr r c r 1

mf

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11

2, cont.

17 .... t •) '~ 3 30~ s. 0~ I 1'30 3 •• ,, • 6r fJ s r r r &P c r B: c r 1 c = r r r f w r r 5 c r &E til

1·1~t03 0

wrrr5Fbfl

' •) t .... t f 3 1 -1 · ~ ., 1 -21 1 t !~ •) t '~ :.! 0 t

,. ' w F r r 6 r t r w E r E 6 f r r I r r r r c t c r r f f r f F ~ r I cresc. poco a poco

II

12

3 Allegro

Friedrich Grotzmacher

3 -\ 1 .~ ~ ~

:>= ~ Efi r r ID c r r r t F r r 1 t f r r t F rte rrcillfr 1

5 a 2 t-t ~

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4

~~ II r c ffr t ; l r It E NF G = t I

8 ---~ 2 - •} ----- 2

19 E L r t F t r E 1e E c r f t #r r 1 r 11

( Finger replacement shifts)

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1e r t r t E r t r 1r c r r n r L t 1 t r r t E r t r 1

14

5 Middle of the bow Rodolphe Kreutzer

. Allegro moderato

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f

1 m .\ '•~ 1~

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9 1 1 H 1 ~ 1~ 1 '• -= '• '• 3 3 1 ~"

,, ~ E ill E c r E t elF E c L C 1 r F E ~ r r rn t r E r c c L ~ 1

13 re t ~ t ~ I '• n 1 4 t 0 Y-~ I 1

t ~ t 4 y-~ I 1 t ~ DB b t E F F t E F 6 ~ E f F r r p:'l b LEE F F r F 6 FE f F r ~ F I

15 ,. ~ II

UNIT TWO Finger Replacement Shifts

I. Finger replacement technique : A Calm, unhurried execution of shifts B. Calculated redistribution of finger weight during shift C. Dexteri1y development through varied practice tempos

II. Additional tips A. Vary slurring patterns to insure accuracy B. Lighten bow pressure during the shifts to eliminate excessive

portamentos

Sevcik Ex.1 Separate bows/Slur 3 notes

Etude 6

t t]4 ETt Moderato 4 I

9'1 (1 3

t£9 2

~ r r r 4 4

IGQj Kreutzer

Etude 7 Ex. 2 Finger replacement exercise

II 3~1 4 3~ 4

(II)

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~~ 4

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I I II II 4rl ~ 4 4

1t f ~ ~~ ~ 4~1 4 ~ 9=¥ e . r E-' J -J

Dotzauer Ex. 3 Middle and upper half of the bow

B ~~ . ~ 2.~ ,, I e u e E ti r r

Etude 8

4 s r I

3

ll

I

a II

0 3

r I

J J II

II

16

6 Allegro otakar SeVCik

I~~ •l

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5 I ~ 2

,, r ~ftfcu 1 U-ttuna 1,po£PW 1 wmaa1

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pizz.

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17

7

18

8 Upper third of the bow Johann Friedrich Dotzauer

12

14

;J: I

16

9=1

Allegro non troppo " r. ,_____ ~ ·" "

;-..,."""'' ' ~~ ~--..~ . f): IcE hl r E 0 ft a 0 a It 2 r r ri g ~ ~ F I

m.f

2 ~ 0

8, cont.

3m t r1 R Q o g r;c r: 1 #;: u a a a rr t1 et 1

.i,

!!:.-...... ~ \~ 1

,,, n tffcrt,1 a cc &1 f=tt n- e 0 De r7 ~ ~ 1

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19

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20

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UNIT THREE Classical Portamento

shifting from a lower to a higher finger ascending, and from a higher to a lower finger descending

Preliminary Exercise for ascending and descending passages: 1. Slide with the finger leaving the note until reaching arrival area of the

new note. 2. Practice as a "lazy glissando" with accurate intonation at departure and

arrival points. 3. Execute full transfer of weight from note to note. 4. This exercise should be practiced on all four strings.

Etude 9

, :~ v r""! a v 1"'1 a v

' c y:l r f§' =III:;J'C! r5) :Ill= J/2t 9 =II A String ~

2 ~ I

Portamento practice in this pitch range is especially valuable for cellists, because much of the etude literature neglects the crucial shifts be1ween the lower and higher registers of the instrument. The following etude should be played in tasteful, musical style, the shifts carefully controlled so there is no excessive glissando in changes of position. The key to such control is a lightening of bow pressure during shifts.

II

L -

2~ mf

.,., 5 a~, 2

t>= f c E 1 r

n - - - ----

8 ::Q 2 1~ 2' u fJ f) f

2

r

2

r j r

9

II_ - - - -

tj)

a tempo

- - v-- - -arempo

w 2::::::::-...

r~~1Ej ru.

21

Gordon Epperson

I. h. - - - - - - - - - (pizz.)

B i ¥ r &·j)t

2

r

81CO

72'

UNIT FOUR Shifting Chromatically

Preliminary Exercises: 1. Practice slowly to develop an awareness for % step intervals. 2. Hear the pitches before they are actually played. 3. Use varied slurring patterns In seale work for clarity in pitch changes

and shifts.

Chromatic scales Ex.1; a., b. Whole bow

a.~,.,~~-~-@~

To be practiced also on strings II, Ill and IV:

0

81CO

Merk Ex. 2; o., b. Whole bow

Etude 10

meas. 1 - 4 3 o t~ ~J

b.,,§ lJijjJ!jJ I JiGiJi itifrfr l#d}tr~rTft I£: II '--"' # :;,_.; 1 3

:;,_.; ') ., l 3 1 t - •J

Etude 10, cont.

Ex.5 Middle third of the bow

23

24

10

81CO

10, cont.

crescendo

26

UNIT FIVE Shifting Across the Strings

I. Guidelines for smooth shifting: A Use the last finger of the old position on the old string to prepare and

establish the new position B. Lighten finger pressure during the shift C. Tap left hand thumb to relieve any unnatural tendency to grip the

fingerboard II. Additional Tips:

A Release bow pressure during the shift B. Know and prepare the distance involved especially when crossing 1wo

or more strings with fingers and bow

Gabrielli Ex. 1 string crossing preparations

]

0

Kreutzer Ex. 2; a., b., c. Bowing variants

M V

,., v

Etude 11

Etude 12

2 l

9

0

81CO

Kreutzer Ex. 3: a .. b. Rhythmic variants

Andante rneas.l ,., V~.

a.9=1/g €J u I

Middle of the bow Slow to fast practice meas. 1

Paganini Ex. 4; a., b.

f

C Major scale

Etude 13 M~ V_,...-....,_ v r· ~ ,:.· ~ M ~ _,__5~oa''

Etude 14

meas. 80- 83 0 • 1 ~ 3 1 1 ~

a.9 ' \SJJ453ccrfMFf13

1 rrEELrcrfSC I

0 t

Etude 14, cont.

Upper hatf of the bow 11

Andante J = 72 Domenico Gabrielli

II 2 -1. 2 2 ~ ~ !: 2 2 .. 4

~ I • 0

---:1 ~ l 4 0 ~~ ~i • 0

.J

~. L •

7 J

~ r L ! r ~ 0 I

-p :J -0 -

v 0 -~

========-- pp porta to

a !: ~ • 1 .. 0 ,.

1 4

~ 0 2 I J 1 :I ~ 1 0 - r I j

poco rit a tempo •)

2

. J J _j

l I J ., 2 ., ,, 2 ~ 2 I [ i

2

Tv-\ \\ - jk t- ?JtP _ - t

10

tJ:'r r --u\ r, .l!J-mf

I

~ '·

I 2 I

[ 1:3 :~ 0 2 ; t 0

f I

tJ : [ E f j r r: r

11, cont.

16

0 2 I :! t 4 2

·~ I

~ ~ !: 2 ~ ~ ~ 2 f!: ~ :! 1 2 a 0 19 0 1 t :l 2 1 0 0 3 t I- .. _J .

_J

rr _t - f J i _T r J upper half of bow

22 -1 - - t

25

Middle of the bow 12 Rodolphe Kreu1zer

4

IIIII II

16

19

25

9=

28

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12, cont.

V M

311'

13 Middle of the bow Rodolphe Kreutza'

16 -~

I ·'l

2 III

19 0 0 2

I 2111 "'

·~ <)

-V5 •• ~~~0 ~ " • 4 1 . .

4,0

~J:I(

5.5

tJ: §# -~---- ---

13, cont.

·~ 1 ~. ·~

·• it.~.o

II I <?

3

4

.. ·i f. ~ ~ ~;:. ..

1 -~1-1- ,e-!..~.

~

II

33

14 Moto perpetuo Niccolo Paganini

19 e - ~ r! ~ ~ ~ ~.: II 1

jlt ~ 1 ~ ,;,u;ucnstBgprFErQI rCrrettr;r.ur#l

14, cont.

t ·) :1 :1 .')4 II 9~oo._,. .t 3

Cj> ~. .. _ ..... . .. <j> ~ :1 1 3 1 ~ ~ 3 .. ..,. 1 3 9 1 ,..,...• _? :1 ~ cr :~ .. ..;. ·•--.. 1

- •.1 9 ~~ cp 3 ~.!. 3 2 ~..!. ·>

liiii"""" ~ .. -rcstez _ . . _ _ _ _ _ _ _ _ _

63

t):

66

77

14, cont.

2 1 1 4 2

cresc.

2 1 4

35

I 9

Middle of the bow

Allegro vivo

19 I# j I 3

:39 t ~ 3

PAPILLON

Gabriel Faure, Opus 77 leggerissimo

y~ ~~~ 'Rf ~5f ~ EM 1 u =w 1 a: s wr 1 pp sempre

Q I. T !"' :l ft 0

restez •l •)

'3 - ·> .~ ------ - t .j; ,., '"""" m v , • ,., t:--- ~ ,., " , ml'il rrrr&b lftrf&Crrlrr rsw1rrcrrw~·1

Papillon-2

47 1 :

I • .-._, -~ t' #

,, II r r b r Q 1 r ~ Et ~ 1 J 9 J a c:E rJ s1 as g t:J ct 1 espress. 1

1

51 :J

~~ ~ ~T ~· ~v" ~¥= 1= ttlr11f IQ%ffl#~

66

191# r 1ft r f If

Papillon-3