Kreutzer Seven is another very
versatile etude and a very important one.
It's main function is to develop the
martele along with string crossings.
So, you'll remember that the martele just
like in Kreutzer number four has
a start and a stop to it with the thumb.
Now because there are string crossings,
every bow with this one the difficulties
Remember that you cross the string after
you play the note and
that way you won't get any of that dreaded
So that takes
some practice getting
the coordination down.
It's tempting to want to change the bow in
advance like we might normally do with
But if you do that with this stroke you're
going to get noise,
you're going to get extra strings.
So just like in Kreutzer number four, as
you get faster,
there will come a time when it's
impractical to stop the note each time.
In that case, there's no real stop between
there's articulation because there's a
beginning but instead of stop note,
stop, stop note, stop, you just have stop
note, stop note, stop note.
And that's the point where
the stroke gets more musically viable,
where it's something that you
would actually use in pieces.
[COUGH] But it needs to be developed with
with that coordination first,
that timing where you play the note and
then do the crossing.
The crossing happens without the bow
Any tiny noises that you hear under your
ear, should hopefully be tiny enough that
to you a few feet away, wouldn't really
So the variations on this etude, you can
vary the part of the bow.
At the extremes of the bow,
it's even more important to
remember that order of things.
You play the note then do the string
Now you can also do this etude with a
remember that's sort of a pizzicato with
the, with the bow.
The bow actually leaves the string,
this is done entirely with the fingers, no
wrist movement, no arm movement.
So the up bow colle starts here and
ends there, the down bow starts here and
Even this you can do in
different parts of the bow.
It's not so
musically practical to do colle at the tip
it's great training for those muscles.
You can even chain ones together.
Looks very silly,
feels very silly.
But you can do that with the colle and the
The point there is to have a rhythm so
that the speed of you bow circle matches
the speed of the notes.
That way as soon as the bow hits
the string you're ready to set and
That's what becomes useful in pieces by
Haydn for example where you have
All that is, is repeated martele, but with
a little space in between the notes.
So, if you can handle
than you can easily handle something more
conventional in Mozart.
Finally, you can practice this completely
When you're doing that,
you'll see that it's very important to,
to put fingers down in advance and
the same principle still applies.
You do the crossing just as the note is
rather than while the note's still going
that's how you can skip over strings and
still have it, hopefully, sound smooth
There you see my fingers going down in
In the second half of this etude there are
to the left hand that are nice preparation
paganini for example, it's very similar
to one of the paganini caprices
So there as always you leave your hand
frame in place but you extend the hands
to tackle those notes there