Thanks for sharing your studies with us. You are doing very well.

Whenever you play an etude ,as an study, you need to determine what the etudes goals are. Some composers have a very clear and determined goal for each of their studies. Dancla not as much.

This is to me a bit of a fluency exercise. I personally, if I was working on this, would focus on smooth bowing, even rhythm, intonation, and not lease, dynamics.

Focus on starting very softly while maintaining the quality of sound and smoothness of bow change. The first part has mostly half note bow changes but a few times, 3 beats in a bow. With dynamics in mind, use what we call, "economy of the bow". A planned execution of the expression, dynamics, sound quality based on the amount of bow available.

Focus on the crescendo and diminuendo those two times (1st part) and almost disappear on bar 8 on the diminuendo. Pretend that the dynamics are colors, and your goal is to increase the depth/contrast of a painting.

There should be a big difference when you begin playing bar 17. Play loud but with smooth caressed bowing. This is probably why Dancla stopped the tied bowing from that point. Before bar 25, a big diminuendo. And so on and so on.....

So focus on the aspects of this etude that are key to eventual perfection.... 😁

Thanks again for putting yourself out there and asking for advice. This is how we get better. If you want, repost this video with our comments in mind. That will be interesting.

You're welcome. How's it going now with the piece?