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I need to beg Pierre for advice here (@Fiddlerman)
I've got a problem with Mazas Op36, #7. I'm playing it at crotchet = 60, and bar 15 is tricky. The implication is that the G crotchet should be played with the first finger, but that makes the ornament horrible, and I wonder if I should amend the fingering of the semiquavers to play the G with my 2nd finger, but how, slide the 4th down, slide the 3rd down or slide the 2nd down? I'm guessing slide the 3rd down.
Andrew
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@Gordon Shumway I'd like to hear Pierre's ideas on this also... The G to F# is almost close enough for me to "roll" my first finger, but it sounds mushy, not clean. I've been watching several Youtube examples, but can't test exactly how each person handles this section.
Bob in Lone Oak, Texas
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The idea is to slide the first finger down and up the half step.
If I was performing this I would probably slide the second finger from A to the beginning G, playing the ornaments in second position shifting back to third during the open D.
However, I work on etudes the way they are suggested first.
If I think about it next time I'm by a camera and a violin, I'll record those two measures for you.
"The richest person is not the one who has the most,
but the one who needs the least."
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Fiddlerman said
The idea is to slide the first finger down and up the half step.
Thanks, Pierre, I realised that was the idea, but it's a horrible idea (lol), and some of these 19th century fingerings and techniques are quite old-fashioned and should be binned: if 1-1-1 is still used in modern technique, I'm surprised and a little disappointed, as technique isn't a great word for something so crude. 60 bpm is probably too slow. It gets worse if you play it faster.
Andrew
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Exactly. It's much clearer in second position. No doubt.
"The richest person is not the one who has the most,
but the one who needs the least."
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Another possibility is to be free and easy with the rhythm of the ornament - Mazas doesn't write a slur and the number 5 under it, but that's how I'm playing it (in fact I play it as a quaver of G then a quaver's worth of slurred 5, but that's NOT what Mazas writes - he writes them as five 16th notes, not five 32nd notes). But if it is grouped as 3+2 or begun earlier, that makes the 1-1-1 fingering easier. Otoh, Mazas could have written that out explicitly if that was what he wanted.
Andrew
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Gordon Shumway said
Another possibility is to be free and easy with the rhythm of the ornament - Mazas doesn't write a slur and the number 5 under it, but that's how I'm playing it (in fact I play it as a quaver of G then a quaver's worth of slurred 5, but that's NOT what Mazas writes - he writes them as five 16th notes, not five 32nd notes). But if it is grouped as 3+2 or begun earlier, that makes the 1-1-1 fingering easier. Otoh, Mazas could have written that out explicitly if that was what he wanted.
Yes, 3+2 is working for me. It is a good lesson in reducing finger pressure on the string, too. And I have increased the bpm to 76. I'll record it at the end of March. (I hope - it's about time I stopped chickening out of these things)
Andrew
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