Exercises for Mazas - Etude #26 from Etudes Speciales, Op. 36, Bk. 1
IN THIS LESSON
SINGING AND ON-THE-STRING STROKES.
The Mazas etude brings to mind an operatic dialogue between two characters, alternating between energetic and lyrical expressions. Here, we'll focus on achieving expressive, singing on-the-string strokes.
A) The more lyrical character appears in the music, sometimes swelling in waves like measures 1-9 in our exercise.
B + C) When notes are under a slur with dots, they require space between them while still maintaining a singing quality. This can be achieved with a traveling bow stroke, which moves smoothly from frog to tip or tip to frog, pausing slightly between each note OR releasing essentially all of the weight from the bow between notes. At slower speeds, this can be done as a scooping motion, which is what we’ll practice in measures 9-24.
D) This measure starts with a down-bow that moves to the upper half of the bow, ensuring there is enough room for five traveling up-bows afterward (measures 25-26). Remember, the smaller muscles and joints in your wrist and fingers should act as shock absorbers, providing flexibility and control - they do not motor or initiate the motion.
E) For passages with quicker note values, like 16th notes in an up-bow staccato stroke (practiced in measures 27-33), we use a flicking or pinching motion of the bow. Here, the initial sound of each note is produced by a quick flick of the wrist, creating a crisp "pop," - the bow arm follows through smoothly. This stroke is distinct and requires practice to master. Take your time with these exercises, allowing for breaks between measures to ensure precision and comfort.
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Up-bow staccato is much easier with a well-rosined bow! This grip makes a big difference. If you need fresh rosin, I personally recommend Bernadel.