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Violin Lessons: Kreutzer 15

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[MUSIC]
Kreutzer 15 is the very
first trill exercise in the book.
And this one builds a basic trill with a
slurred ending.
It's one of the more common trills you'll
find in the repertoire.
[MUSIC]
You'll find
that all over.
So it's a great thing not only to build
this course skill, but for
daily maintenance.
I find that trills need daily maintenance
to get springy and confident.
Now, you can build up these trills step by
step with variations that may or
may not be printed in your edition of the
Kreutzer.
[COUGH] But they go something like this.
And they build,
they allow you to build a trill that
either is played from the main note.
[MUSIC]
Or from the upper note.
[MUSIC]
Because both of those trills
are used in the literature.
So the variations might go something like
this.
[MUSIC]
Where you have just a couple turns,
and then you add one more.
[MUSIC]
And by the time you're adding another
turn, it starts to sound really like a
trill.
[MUSIC]
You'll wanna do the same thing for
the trills from the upper note.
[MUSIC]
Now, you'll notice
that there are accents
written on the trills.
But and they're on the up-bows.
So that counteracts our tendency to play
heavy down-bows.
[COUGH] And these up-bow accents are also
nice because they get us really
springing into the trill.
[MUSIC]
Of course, you'll have to use a lighter
down-bow and use a little bit more bow on
the down-bow to
get yourself back to the same point in the
bow.
Now, you can do a couple variations on
this.
For one, you can slur in the note after
the trill ending.
[MUSIC]
That gets you [COUGH] alternating
your accents on up- and down-bows.
Now, if you'd like to really make sure
that you're releasing the hand before
a trill.
Because that's one of the most important
factors, to keep them light and springy.
You can play an open string before each
trill.
[MUSIC]
That's telling me that
my hand is completely released.
No tension before the trill.
Another exercise you can use that was
given to me by my old teacher, Dan Mason,
is to flutter both of the fingers involved
in the trill simultaneously.
So it sounds a little strange.
[MUSIC]
So now both two and
three are fluttering very light.
It's a great feeling.
That's actually the feeling that you wanna
keep when you do the trill for real.
Of course, the lower finger will stay on
the string.
But the lower finger needs to be light.
If the lower finger is really stuck down
on the string,
it's very difficult to move that upper one
lightly.
[MUSIC]
So then you can
gradually transition
from the fluttering to a real trill.
[MUSIC]