Kreutzer number four is
about a repeated martelé stroke so
that's on the string, separated, and
it's repeated in the same direction.
Remember for the martelé,
you set with the thumb, and
then the release is the note.
So there's a start and
a stop to the note.
And that's done just by regulating the
When the, in the middle of the note the
thumbs, the thumb and
the fingers should have even pressure.
So nothing pressing down, nothing gripping
It's only at the beginning and
the end of the stroke that the thumb
exerts a little pressure.
And that's what gives the martelé its
So you wanna play without extra noise, in
There I'm mistiming the end of my notes.
I'm bringing the thumbs pressure back too
They are now getting a clean sound.
So, when you practice this, you practice
it slowly with a clear start and
stop to each note.
So I have plenty of time,
you can take even more time if you'd like.
And you wanna be very economical
with the bow on those repeated notes.
Many people use too much bow on, on those.
And what happens, the time to use this
stroke practically in performance
is when you need a lot of them in a row,
and you don't always wanna be using a lot
of bow on those, so it's good to build the
habit to, to economize with the bow.
When you speed it up there will come a
a tempo where the notes don't really have
time to start and stop anymore.
It's too much [LAUGH] squeezing with the
You see you start
getting extra noise.
At that speed and you, and you'll have to
kind of just feel it
the notes go one into the next without
start, stop it's more like stop, stop,
That's the kind of stroke that
you'd like to play this etude with so
that it sounds at least a little bit
So I'm saving on all those repeated notes
and I'm saving like mad on the half notes
otherwise I'm really gonna end up at the
[COUGH] So in tempo.
Those accents that are written
there [COUGH] they're very helpful on the
because they let you get out to the tip
The object is to make them the least
intrusive that you can.
It would be possible to use the whole up
these and then have a huge accent on the
down bow to get back to the tip.
But what you'd like to do is have a more
normal sounding accent.
So you wanna conserve on the up bow.
It's also use, useful to practice this one
with a slightly different articulation,
a more brushy and classical articulation.
You still keep it on the string.
But it has much less
pressure from the thumb.
So rather than stop, stop, stop, it's sort
of like brush, brush,
brush, but still on the string.
That's a stroke
that's used often in
the classical literature.
Sometimes on the string, sometimes off, in
this etude we stay on.
And therefore you don't have to conserve
the bow quite as much,
cuz you're after that fluffier sound,
So, I'd like to you to practice this one
with both those kinds of strokes, starting
slowly with the clear start and stop, then
gradually getting one note to the next.