violinjaz z edit ions

Stylistic
Etudes
for Solo
Violin
for Intermediate
to Advanced Players

Composed by Jeremy Cohen

Published by:
Published by: Jeremy
Jeremy Cohen
Cohen and
and Andrea
Andrea Liguori
Liguori
Composer: Jeremy
Composer: Jeremy Cohen
Cohen
Music
Music Editor:
Editor: Graham
Graham Pellettieri
Pellettieri
Composer
Composer Photograph:
Photograph: Noah
Noah Clayton,
Clayton, Noah
Noah Clayton
Clayton Photography
Photography

All
All works
works composed
composed by
by Jeremy
Jeremy Cohen
Cohen (ASCAP)
Portions
Portions of
of these
these texts
texts are
are excerpted
excerpted with
with permission
permission of
of String
String Letter
Letter
Publishing,
Publishing, © © 2008,
2008, 2009,
2009, www.stringletter.com
www.stringletter.com (Tango Eight, Strings
(Tango Eight, Strings
Magazine,
Magazine, June/July
June/July 2008;
2008; Retake Samba, Strings,
Retake Samba, Strings, December
December 2008;
2008;
and
and Blues Etude, Strings,
Blues Etude, Strings, April
April 2009).
2009).
© 2010 by Violinjazz Publishing (ASCAP) www.violinjazz.com

ISBN:
ISBN: 9780984471195
978­0­9844711­0­2(EPUB)
©© 2018
2010 by
byViolinjazz
Violinjazz Publishing
Publishing (ASCAP)
All
All rights
rights reserved.
reserved. No
No part
part of
of this
this publication
publication may
may bebe reproduced
reproduced inin any
any
formform
or byorany
by any means
means without
without the prior
the prior written
written permission
permission of Publisher.
of the the Publisher.

Published
Published bybyViolinjazz
Violinjazz Publishing
Publishing.
3542
PO Box 27553, Oakland, Oakland,
Fruitvale Ave. #147, CA 94602CA 94602
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violinjaz z edit ions

Stylistic
Etudes
for Solo
Violin
for Intermediate
to Advanced Players

ComposedbyJeremyCohen
 Table of Contents
TheRetakeSamba..................................................................5
TangoEight...............................................................................9
Chorito(inaBrazilianStyle)..................................................13
BluesEtude.............................................................................17
Half-StepHiatus......................................................................21
StringCrossings—CanYouHandelIt?.................................25
The
Retake
Samba Composed by Jeremy Cohen

Performance Notes

T
he Retake Samba is a achieved by a flexible right-hand Now let’s talk style. From the
good way to learn about wrist and fingers combined with beginning of the piece, know
playing near the frog a relaxed shoulder and elbow—in that you are playing Brazilian
in a very relaxed way. When other words a relaxed right arm. music. Use your imagination
approaching this etude, keep So many players avoid playing to put yourself in Brazil. In
a loose wrist and fingers. Think at the frog, mostly because of the other words, think of the
smooth and long on the eighth amount of rough sound that is music as being rhythmic in
notes with dashes over them produced in this part of the bow. nature, without much variation
and short and crisp on those This etude exists so you can figure in tempo. It’s as if there’s an
with dots over them. Try to put out how to navigate near the frog imaginary rhythm section
yourself and your listeners into and stay light with your arm and playing along with you.
a nice, comfortable, and calm flexible with your fingers. This piece will work best when
mood, and remember to keep To get comfortable with this you keep it nice and steady in
the rhythm going throughout the stroke, the first thing to think its groove. In mm. 17–20, make
piece. If people want to dance about is gravity in your shoulder sure to keep the notes even and
or move when they hear this and elbow. How much muscle smooth.
piece, you are most likely onto force do you need to suspend The middle section (or bridge)
something right. your arm and bow? Think of the piece begins with the three
The piece opens with some carefully about this and start eighth-note As in m. 28 that are
repeated Cs. In order to play all relaxing your shoulder and arm to the pickups to m. 29. This section
these repeated notes at the same the point that you are only using introduces a new emotional feel
location on the bow, keep a very enough energy to keep your arm that should contrast with the
loose wrist and light touch, play suspended—it’s generally much beginning section. I find it to
extremely close to the frog, and less force than you think. be a little more festive. It has a
do a “retake.” Let’s try an exercise—hold smoother line than the theme in
A retake is simply a series of your violin up, place the bow on m. 5 (which employs leaps) and
short notes repeated at the same the string at the frog, and begin the bridge rises and falls with a
location on the bow. A retake to feel gravity allowing your little more drama than the first
involves lifting the bow in order shoulder and arm to relax. Get section.
to place it back on the string at a friend in the room to gently The music eventually returns to
the same location as the previous push downward on your elbow. the original theme in m. 37. Make
note or notes. Allow your arm to sink from the sure that you recall the original
This bow stroke usually involves downward pressure and return to mood of the piece when you hit
a loose and supple wrist in order its proper playing position as soon this return.
to accommodate the replacement as he or she releases the pressure. Finally, don’t forget to have fun
of the bow at the same location This is a great way to find good and add some Brazilian flair to
with some ease and agility. arm placement with minimum the music. Make folks want to get
A retake will always best be muscle tension. up and dance!

Stylistic Etudes for Solo Violin 5

 TheThe Retake Samba
Retake Samba
Composed by Jeremy Cohen Jeremy Cohen
q = 110

≥ ≤
Lightly, lower half (near frog)
≥ ≤ ≤ ≤
4 œ- œ. ‰ œ. ‰ œ. ‰ œ. œ- œ. ‰ œ. ‰ œ. ‰ œ. ≤ ≥ ≤ ≤ ≤ ≤ œ ≤. ≤. ≤.
b ‰ œ ‰ œ ‰ œ
& 4 J J J J J J œ- . J J J
P
≤ - œ- - - -
œ
≤ ≤j 3 - ≤
- œ œ œ -
œ. ‰ j œ œ ‰ œ œ œ- œ œ # œ
3 3

œ. ‰
4

&b ‰
3 3

˙ œ- œ- œ- - œ œ
- - # œ œ
- - - - -
f
≤ -
œ œ. ≤ - -
- œ œ œ- - œ
4
≤
3 0

- œ # œ œ- œ- œ- n œ- b œ-
4

œ œ œ -
8

&b œ- Œ ‰
œ- œ- œ- œ-
. ‰ J # œ- - œ - - ‰ J b œ œ- -œ
P
≤- - - œ- . œ-≤ œ- œ. œ-≤ œ ≤- - - œ- . œ-≤ œ- œ. œ-≤
œ- Œ ‰ œ œ œ œ. ‰ œ œ œ
12 0

&b œ ‰ J ‰ J œ ‰ J ‰ J
F P
≤
4 3 0
n œ- œ- œ- œ- œ0- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-
œ œ ‰ œ- # œ œ-
16

&b . -
n œ- œ- œ- œ-
f
≤2 3 ≤ ≤ - œ- - - -
œ
-œ œ- - - j j -
œ - œ œ œ -
œ
3

n œ. ‰ œ # œ œ. ‰ œ œ ‰ œ œ- œ- œ # œ
20

&b bœ œ œ
œ- # œ- œ- - - œ - - - - - -
P f
≤
≤ ≤j
3 -
œ .
œ -
2 - - -
œ œ œ n œ2
œ- œ- œ. -≤2 b œ- œ. œ≤-0
œ- œ- ‰ J
4

œ. ‰ ‰ Jœ
24

&b œ- Œ ‰ œ œ œ # œ œ
- ‰ J
œ- œ- - - - F
P
-≤ - - - - - - œ- œ- œ- œ- œ- - œ- œ- œ-
œ- Œ ‰ œ œ œ œ œ- œ- # œ- - œ œ œ œ- œ- -
œ œ- œ- œ- # œ œ-
28

&b œ
f
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All rights reserved
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6 Stylistic Etudes for Solo Violin

 2
- -
œ - œ- # œ- n œ- œ- - -
4
0 .
- œ # -≤ œ- œ- -
œ
& b œ œ- œ- œ- œ œ nœ œ œ- b œ- n œ ‰ J œ œ- n œ n œ
32

œ œ
- - œ- b œ- n œ- - - - œ- œ
-
-
≤ 3
j ≤j 3 -œ3 ≤- œ œ- œ- œ- œ- œ- œ- œ œ # œ
nœ ‰ œ ‰ ‰ œ
36

&b
4 0

œ- œ- œ- œ- œ # œ œ- œ- œ- . œ- # œ- . œ- œ - - -
- - f
P
≤ - - - œ- œ- œ- œ- œ-
≤ ≤ 3 2 3 3 -3
j œ. ‰ j œ ≤œ- - - b œ œ œ
œ ‰ nœ œ
40

&b œ- Œ ‰
œ- œ- œ- œ-
. ‰ œ- # œ- œ- -œ
F
œ- ≤œ- œ- œ- - . ≤ - - - - - ≤ -
#œ Œ ‰ œ œ œ- œ . -≤ œ- œ- - œ- œ- œ œ œ œ œ. ‰ œ- œ b œ. ‰ n œ-≤
44

&b ‰ J bœ ‰ nœ
J
nœ J J
f
-
-œ œ- - œ- - œ- œ- œ- œ- œ. œ≤- œ- . - œ- œ- - -2 œ- œ- b œ œ- œ- œ- œ- œ-
nœ œ œ #œ n œ- œ œ
48

&b ‰ J bœ ‰ nœ
J - - œ-
ƒ
≤ ≤ ≤j ≤j
- ≤
- - . œ-≤
œ
& b œ- œ œ œ œ ‰ œj œ- œ œ œ œ ‰ œj œ- œ ‰ œ- œ- œ. ‰ œ- œ œ. ‰ œJ œ ‰ J
52

- n œ- - - . - - n œ- - - . - .
P
œ- # œ- œ- œ- œ- - n œ- œ- œ- # œ- œ- œ- œ- - n œ- œ- œ- œ. œ-≤ œ- - - œ- - ≤
-
œ œ œ œ .
56

& b ‰ J n œ ‰ b œ
œ J œ- œ œ œ-
- -

≤ ≤ 4 0 -

& b œ- œ ‰ œj œ œ œ œ- œ ‰ œj œ œ œ œ- œ œ- œ- b œ- n œ- œ b œ- œ œ- b œ- n œ- œ- œ- œ œ
60 4 4

. - - - n œ- - . - - - n œ- - - - -

œ- œ- -
& b œ- œ- n œ- œ- b œ- œ- œ œ- œ- œ- n œ- œ- b œ- œ- œ œ- œ- œ œ- œ j
64

- - - œ- œ- ˙˙ œ ‰ Œ
f œ
ƒ fl

Stylistic Etudes for Solo Violin 7

Tango
Eight Composed by Jeremy Cohen

Performance Notes

I
wrote Tango Eight after as the second function or ture fused together. This is our
having had the pleasure of response to the bass line, give tango groove upon which the
being the violin soloist in the listener a complete picture piece will be built.
Forever Tango, a Broadway show of baseline and harmonic struc-
featuring Argentine dancers and
musicians performing the music
of their homeland. Tango Eight
was written to give string players
a concentrated look at the Here are some things to remember
type of bowing technique one when practicing Tango Eight:
needs to become comfortable
playing in a tango style, namely • Use short crisp strokes not more than
a staccato bowing at the frog
two inches away from the frog.
in an extremely metronomic,
steady pace.
Place the bow at rest on the • Play all staccato notes
string before articulating each under the right hand.
note. Start each subsequent note
from a stopped bow, picking • Articulate the beginning of each note
each note out or up from the
(martelé) and release the bow pressure
string while keeping the right
hand bow grip close to the frog on the string.
for an entire passage.
Tango Eight is structured so • Stay in strict tempo unless a rit.
that you will provide your own is indicated.
bass line. The first, fourth and
seventh notes in each of the bars
comprised of eighth notes make
• Adopt the concept that you are a
up that important bass line. Start percussionist as well as a string player!
out this piece by practicing only
this line so you can hear yourself • Stay very focused in the music. See the
providing that critical bass line end of the etude as your goal before
information. you begin playing and stay with the mu-
The second, third, fifth, sixth
and eighth notes of the bar are
sical line.
the chord information in this
pattern. These notes fit against
the bass line and, when played

Stylistic Etudes for Solo Violin 9

 Tango Eight
Tango Eight
Composed by Jeremy Cohen Jeremy Cohen

≥ . ,≤ ≥≤ ≤ ≥≤ ≤ ≥≤ ≥≤ ≤ ≥≤ ≤ ≥
Steady q = 100
≥ ≤0 ≤ ≥ ≤ ≤ ≥ ≤
b 4 # œ œ œ œ≤ œ œ. œ œ œ œ - œ- - -
œ
&b 4 ‰ œ œ . œ œ œ. œ . . œ . œ œ . œœ œ. œ œ. œ.
. œ- . >œ- . œ œ- . # >œ- . œ. œ . œ
f fl > œ- >- fl
>
F
>
≤
3
1 ~
≤ ≤
≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤. ≥
1 2
≤ ≤ ≥ ≤ b .
œ œ
≥ ≤. œ œ # œ œ
3 0 0
- œ- - œœœœ œ œ œ œ œ
4 4

b œ œ
. œ - œ .
4
. . . œ n œ
.
5

& b œ. . œ œ œ œ . bœ œ . . œ. œ œ. œ
1

œ # œ- . . n œ- œ œ . # >œ- œ
>- > > >- fl >-
≥≥ ≥≤ ≤ ≥≤ ≤ ≥≤ ≥≤ ≤ ≥≤ ≤ ≥≤ ≤ ≥ ≤ ≤ ≥ ≤
# œ . . . -
4

b œ œ . œœ œ œ--
& b œœ œ œ # œ . n œ. œ. # œ. œ œ # œ œ œ œ. œ. . . œ. œ. # œ œ . œ œ œ- œ œ. œ. . .
œ œ œ œ
9 4

fl œ- . >œ- flœ >œ- -.
> œ- . >œ- flœ
f > >
P
≤ ≤ ≥1 ≤ ≤ ≥ ≤ ≥2 ≤1 ≥0 ≤0 restez
≥≤ ≤ ≥
- > 1. . b œ. œ4.
œ. œ œ- œ- œ- n œ- œ œ
≤1 ≤ - œ. œ. œ. œ.
œ œ œ. œ œ œ œ. œ
4

b œ n œ.
13

&b œ. . œ œ œ. . œ œ
. œ- # œ n œ. .
# œ n œ- flœ
œ
>- >- . > > >
-
≥ ≥ - œ œ- œ- - œ- œ - œ- œ- œ- ≥ ≤ ≤ ≥ ≤ ≤
- 1 - œ œ ≤ ≥≤ ≥≥ ≥≤ ≤ ≥≤ ≤
4 4

˘ œ œ œ
b # œœ œ œ. œ œ. œ. œ œ œ. ≥œ œ œ œ œ œ # œ œ œ. œ œ. œ
17

& b
œ œ .
œ- . >œ- œ œ œ œ
œ- . >œ- . flœ
> fl fl fl >
f F
≥2 ≤0 ≤0 ≥3
≤ ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ 4≤. 4 ≤. ≥
œ
-œ œ œ- ≥ ≤
b œ. œ œ # œ œ. œ œœ ≤
œ. b œ1. b œ œ œ œ œ œ œ n œ
œ. . œ
≤. œ œ # œ œ
21

&b
1

# œ . œ œ. œ
œ- .
œ . n >œ- >œ- > fl >œ- # >œ- œ
fl
fl
≥1 ≥ ≤
˙ ˘œ œ≤ œ ≥ ≥ ˙ œ œ
b # œ ≥ ≥ ≥
œ œ œ œ œ œ̆ œ̆ œ œ œ œ œ œ ˙
& b œœ œ œ̆ œ œ œ œ œ̆ œ œ œ œ
œ ˙
25

œœ
fl f
J
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All rights reserved
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10 Stylistic Etudes for Solo Violin

 2
≤ ≥2
>œ≥. ≤ ≤
o 01 . œ. œ.
b œ ≥ >
œœ . .
œ œ œ b œ œ œ
. œœ . œ œ œ œ.
& b œ œ œ œ œ œ̆ œ̆ œ œ œ œ n œ œ œ œ œ. œ. n œœ œ œ # œ œ̆
29
1 3
1

œ.
n œ- œ. œ #œœœ
fl fl.
>
F
≤ ≤4
≤ ≥ ≥ ≥ ≤
≥ ≤ ≥ ≥ œ̆ ≥ ≤ ≥˙
1
œ œ ˘œ 2 ≥ ˙ œ œ
˘ œ̆
b # œœ œ̆ ˘ œ̆ œ̆ ˘ ˙ œ œœœœœ œ œœœœœœ ˙
œ œ ˙
33

b
0
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
ƒ fl fl J
≥ ≥≤ ≤ ≥
˘œ ≥3 0 ≥ ≥ ≤ ≤ ≥ ≤ ≤. ≥ œ≤. ≥œ œ # œ
1 bœ
2 4 0 0

b œ œ0 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ̆ œ̆ œ. œ ≤
n œ. œ. œ
œ. œ. b œ. œœ œœ œœ œœ
37

b
& œ œœœœ œ œ œ œœœœœ œœ . œ. œ œ.
flfl n œ- œ- >- f . # >œ- >œ-
> > ƒ
F
3

˘œ
1 restez
≥ ≥ .
4

b œ ≥
œ œ œ œ œ̆ œ̆ œ œ œ œ œ œ œ # œ. n œ. n œ. b œ. œ. 2 b œ. œ b œ
4
œ. # œ n œ. n œ. b œ.
œ. œ. œ. # œ. œ. . b œ. . œ œ . œ. œ.
41

&b
bœ œ P
P fl
f fl
≤
œ̆ o o
4 4

0 2. .
œ̆ . 1 œo. 1 œ1. >œ- œ œ4
4 restez

œ œ œ. # œ œ œ. n œ œ œ. n œ œ
œ œ
3 1 3 0

b œ œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ
# œ. œ.
45

& b œ.
4

. œ œ
bœ œ p
fl f
≤
œ œ œ. # œ œ œ. n œ œ œ. n œ œ n œ. b œ œ œ. œ œ
1 3 4 1 3

b n œ. b œ œ œ. œ œ œ #œ œ #œ
49

& b
œ œ
F fl fl b flœ fl flœ p fl fl b flœ ffl
f cresc.

>4œ- œ 1 1 ≥1 . ≤ ≥j
>œ- œ - œ- œ - - œ. - œ œ
52
b # -
œ œ # -
œ œ # œ œ œ œ- œ œ. œ œ ‰ Œ Ó
&b ‰ . œ. œ. œ. ‰ . œ œ œ ‰ œ œ
flflfl ƒ fl -œ
fl

Stylistic Etudes for Solo Violin 11

Chorito
(in a Brazilian Style) Composed by Jeremy Cohen

Performance Notes

C
horito was inspired by heads for the first eighth note in
the Brazilian composer beat three. Give that third beat a
and mandolinist, very gentle accent when you get
Jacob do Bandolim. Look him there. (I didn’t write that emphasis
up—you can find him at your into the score in order to avoid
regular sources of online music. suggesting that the beat be given
I do suggest listening to some a full accent.)
authentic Brazilian choros before When you get to mm. 17–18,
playing this etude in order to 21–22 and 25–26 remember
absorb the style with your ear. to keep a light pressure on the
You will want to emulate it with bow for the double stops. We
your violin when you play this really want this section to float
piece. rather than sound squeezed, so
Even though it is written in lightness with the bow will be
4/4 time we really want to feel the key here. Go ahead and dig
Chorito’s larger half-note pulse. in more with the cresc. in the
Notice that in mm. 1–8 (with the double stops in mm. 27–28.
pickup) there are eleven sixteenth The most important element
notes in succession (a three-note here is style. Do a little research
pickup followed by two groups on the choro and enjoy getting
of four). I want you to hear those that Brazilian lilt into your
sixteenth notes as one idea that playing!

Stylistic Etudes for Solo Violin 13

 Chorito
(in a Brazilian Style)
Chorito
Composed by Jeremy Cohen

(in a Brazillian style)

Jeremy Cohen
Legato q = 92
≤ œ ≤
4 œ œ œ œ œ œ œ œ œ œ œ ≈⋲ œ # œ œ # œ œ œ œ œ œ œ œ œ ≈⋲ n œ œ
&4 œ œ œ
F
≤0
≥≤ ≥≤ œ œ≤ œ œ ≤
œ ≈⋲ œ n œ œ œ œ œ œ œ # œ n œ j ‰ ≈⋲
4

& œ œ œ œ #œ œ nœ #œ
3

œ œ œ œ œ œ œ œ œ ≈⋲ œ œ œ
nœ œ œ œ #œ

≤ ≤ ≤
n œ œ
0 4
n œ œ œ œ œ œ
6

& #œ œ #œ œ œ œ J ‰ ≈⋲ œ œ ≈⋲ œ
œ œ œ #œ œ nœ œ œ œ œ œ œ œ j ‰ ≈⋲
œœ œœ œœœ

9
≤ ≤ ≤ ≤ ≤ ≤ ≥ ≤ ≥ ≤ œ œ nœ œ
& œ œ ≈⋲ œ # œ œ ≈⋲ œ œ œ ≈⋲ ≈⋲ ≈⋲ ≈⋲ œ
œ b œ n œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ #œ œ œ nœ #œ œ œ œ
œ œ

12
>≥œ œ >œ≤ ≥ ≤ ≤
œ
& œ œœœœ œ ≈⋲ ≈⋲ ≈⋲ œ ≈⋲ ≈⋲ ≈⋲ ≈⋲ œ bœ
œ œ œ œ œ œ
> œ œ œ œ œ #œ œ œ œ bœ nœ œ œ œ nœ

≥
œ œ nœ œ œ #œ œ œ ≤ œ œ œ œ nœ œ œ œ œ œ ≤ ẇ
œ # œ # œ n œ œ
15

&œ œ ‰ ˙
J
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14 Stylistic Etudes for Solo Violin

 2
˙ ≤ ≥ 3 ≤ ≤
œ œ
œ ≈⋲ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ n œ # œ œ œ œ œ b œ œ œ œ œ œ n œ œj ‰ œ
18 3

& ˙
b
œ

j
ẇ ˙ œœ ‰ ≈⋲ ≤ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ
21

& ˙ b˙ œ
J œœ
p

ẇ j ≤
œ œ œ œ ˙ œ
& œ œ œ œ œœ œœ œœ œœ œj ‰ œ œ ‰ ≈⋲ œ n œ œ
24

˙ b˙
œ. J p
f

# œ œ œ œ b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œœœœœœ œ œ œ bœ œ
b œ œ œ œ œ œ œ œ j ‰ ≈⋲ # œ nœ nœ œ œ
27

& œœœœ œ
f œ.

œ œ œ #œ œ œ ≤ œ œ ≤ œ ≤
30
j
b œ œ œ ‰ ≈⋲ œ œ n œ œ œ œ œ œ œ œ n œ ≈⋲ œ œ # œ œ # œ œ œ œ œ œ œ œ ≈⋲ œ n œ œ
&
F
≤0
≥≤ ≥≤ ≤
œ ≈⋲ œ œ œ œ ≤
œ œ
4

œ œ œ # œ œ n œ # œ n œ œ œ j
33

& œ œ œ œ bœ œ œ ‰ ≈⋲ œ œ œ œ œ œ œ ≈⋲ œ œ œ
œ
nœ œ œ œ #œ

≤1 1
≤ ≤ œ # œ œ
œ j
1
n œ œ œ
& # œ œ # œ œ œ n œ œ œJ ‰ ≈⋲ œ œ œ œ œ œ œ œ # œ œ œ n œ ≈⋲ # œ œ œ œ œ # œ œ œ œ œ ‰ ≈⋲
36

f
œo œ4 œ œ œ œ 1 1œ œ 2 ≤ œ œ œ œ œ
39
#œ nœ œ
≈⋲ œ œ œ ‰
& œ œ œ ‰ œ œj
f >

Stylistic Etudes for Solo Violin 15

Blues
Etude Composed by Jeremy Cohen

Performance Notes

I
composed the Blues Etude as much or even more than or energetic performance of a
so that players can have I am listening for perfection piece. The more physical effort
a musically engaging or accuracy of execution. It’s we put into our playing, the less
experience learning technical music, a human thing—we want the music swings. So keep it
elements while playing in a to be moved by your heartfelt light and “funky.”
more up-to-date style of string
playing. After all, why not? My
feeling is that we shouldn’t feel
limited in any way just because
of our classical training. We Here are some pointers for playing this etude:
generally have more technical
ability than most “folk” style
• Stay close to the metronome. This piece
players. What we need are the
stylistic components to put it all works best when it is played in steady
together. time.
OK, a few quick pointers
before we start. Instruments such • Using a lighter bow pressure will give
as drums, piano, bass and guitar you the desired funky effect that this
typically accompany a blues
piece needs.
piece. As a solo player you serve
as both the melody AND the
rhythm. Rhythmic steadiness is • Use first position in mm. 2 and 9. The
one of the key elements we need sound of open strings is OK in this style.
in order to keep that true blues
feel. • In mm. 2, 7, 9, 14, 17, 19 and 21 (the
We also need to understand
two eighth notes at the beginning of the
that it feels different from playing
classical or orchestral music. bar) imagine you are the bass player
When you play it, make sure laying down the funk. Keep these notes
you play it as if you are telling a solid and steady because you are the
story. Play with determination bassist here.
and animation.
As a listener I am usually
• In m. 6 make sure to stay with a really
inclined to let a mistake or two
pass by, as long as I can tell that steady quarter note feel.
the player is “going for it” and
has done the homework. I want
to be moved by the performance

Stylistic Etudes for Solo Violin 17

 Blues Etude
Blues Etude
Composed by Jeremy Cohen
Jeremy Cohen

With Attitude q = 92 ≤
4 ≤ ≤ œ œ ≤ 3
b œ œ >- .
&4 bœ œ bœ œ bœ œ œ œ œ œ œ bœ œ
# œ
˙. œ œ b œ n œ flœ flœ œ > œ œ œ n œ b œ œ b >œ
p f

4
≥œ œ œ ≥ ≤ ≥ ≤ ≤
& ≈⋲ b œ œ n œ œ. œ. œ œ bœ œ bœ œ œ œ œ œ
b œ œ n œ œ œ œ œ >œ œ ≈⋲ œ b >œ œ ≈⋲ œ b œ œ ≈⋲ œ >œ œ œ n œ
F >

≥2 ≤2 ≤ ≤1 1
≤ ≥ ≤ ≥ ≤ n ≥œ œ ≥3 ≤
bœ œ
7

& œ œ ‰ Jœ œ œ ≈⋲ œ b œ œ ≈⋲ œ b œ œ œ n œ b œ œ œ b œ œ œ œ œ œ b œ œ bœ œ bœ œ œ œ œ
3

flfl > > > > > œ bœ nœ œ œ œ >

f fl fl
f

≤ ≥1 1
b >
œ œ - >œ œ œ œ œ œ œ. ≥œ œ >œ >œ # >œ >œ ˘
nn œœ ≈⋲ ‰ ≈⋲ œ≤ b œ œ # œ n œ œ œ ≤ ≥ ≤
.
& œ œ ≈⋲ b œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ
œ œ
10 3

R bœ œ bœ œ
> > bœ

≥ ≤ ≤ ≤ ≤ ≤ ≤ ≥ ≥j ≥ œ œ. ≥œ œ b œ
œ œœœ
13

&œ ≈⋲ œ ≈⋲ ≈⋲ œ ≈⋲ ≈⋲ œ b œ œ b œ ‰ n œ
œ œ
œ œ
œ ‰ œ
. œ. - œ- - œ- - nœ œ œ > œ b œ n œ >œ- flœ
flfl 3

≥4
≥4 4 4≤ 4 ≥1 ≤ œ œ œ œ b œ ≤ - œ. ≥4
œ
b œ n œ b œ n œ œ œ b œ ≤ ≥ ≤ ≥ ≤ ≈⋲ œ. ≈⋲ b œ œ œ œ œ ≥œ b œ œ œ œ b œ
œ bœ œ #œ
16

& œ œ œ œ bœ nœ œ bœ nœ
œœ >
flfl
© 2010 by Violinjazz Publishing
All rights reserved
www.violinjazz.com

18 Stylistic Etudes for Solo Violin

 2
≤ ≤
≤ œ œ
& n œ œ ≈⋲ œ œ œ b œ n œ b œ n œ œ œ. ≈⋲ œ b œ n œ b œ n œ œ œ b œ n œ œ œ # œ œ œ œ ≈⋲ œ- b œ- œ- # œ n œ b œ œ œ œ
19 3

flfl > > > > œ œ >> fl fl > œ bœ œ

>>
≥2 ≥2
˘ ≤ ≥1 ≤
œ
2

˘œ ˘œ œ j œ .. œ œ ˘
œ œ œ
1
œ
1
. b œ œ œ ≤
œ œ œ
1 1

œ œ œ œ œ . œ
22

≈⋲ ‰ œ ‰ œ
0

& nœ œ #œ œ œ nœ œ œ œ œ œ. œ œ œ
> fl fl >- œ
œ œ bœ nœ
fl
≥4 ≤4 3
2≥
1œ œ 2œ œ ≥1 b œ n œ
4 4
1-
. -
1 . - . b œ œ n œ
4 4

œ œ œ bœ œ ‰ œ œ
1 4

œ œ ≈⋲ œ œ œ ≈⋲ œ # œ œ ≈⋲ œ
1 1 1

œ
1

œ œ œ
25

≈⋲ ‰ b œ œ n œ
1

&
œ- œ. œ œ- œ. œ œ œ œ # œ œ œ
œ œ J œ
œ nœ .
œ
>

>œ œ >œ œ >œ œ >œ 2

3

œ œ œ2 œ ≥ œ œ
2 3
1
œ b œ œ ‰ 1œ œ b œ n œ n œ œ b œ œ n œ œ b œ œ n œ œ b œ œ n œ œ b œ œ n œ œ b œ œ œ b œ4 n œ0 œ œ b œ œ œ >œ œ œ œ
2
œ œ œ œ œ œ œ œ
nœ
28 1

& œ
œ nœ . œ
>œ 3

≥1 > > > > > >

> > > > > >
2 2

œ œ b œ œ > œ œ b œ œ >
# œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œœ œ œ œ œ œ b n œ œ œ œ œœ œœ œœ œœ # œœ œœ œœ œœ
1 1 0

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
31 4
1

& œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œ
P

≥ ≤ ≤
œ . œ œ b œ œ œ œ œ œ œ b œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œ œ œ œ œ bœ nœ
0

& n œœ œœ œœ œœ # œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
34

œ œœ
~~~~

œ. œ
f ƒ
3 3

≥4 4 ≤ ≤
(break chords 2 & 2)
≥ ≥ U
œ ˙
4 4

˘ ˘ ˘ ˘œ 0 bœ nœ
1 1 2

œ œ # œ
1 1

œ œ œ ˙
& œœ œœ œ œ œ œ # œ œ œ n œœ # # œœ
37

œœ ˙˙
fl fl fl fl œ b œ- n œ- -1
fl 1 1

Stylistic Etudes for Solo Violin 19

Half-Step
Hiatus Composed by Jeremy Cohen

Performance Notes

T
his etude is about the notes. The listener’s ears will
developing a system for hear the most strongly articulated
playing half steps in two part of a slide between notes so
basic ways. The first way uses be careful that the entire distance
consecutive fingering—see the of the slide sounds softer than
first beat of m. 1. The second either note of the half step. Make
way uses a single finger—see the sense?
second beat of m. 1. Start out slowly. Play one
The challenge is to make the note, lighten the finger and
fingered and slid half steps more bow pressure while sliding, and
similar in sound than different. resume normal finger pressure
The question is—how can this be once you have reached the exact
achieved? The answer is simpler pitch for which you are aiming.
than you might think. The secret We are talking minute bits
is in lightening the bow and left of pressure here—grams, not
hand fingers in the single finger ounces. It doesn’t take much
slides. to create sound on a healthy
First, let’s assume we know instrument. First, figure out
about simply placing a half step exactly how much pressure is
between two consecutive fingers needed to make a note sound
in the left hand. What we want successfully. Then check to see
to do is to replicate that same if you are using more than is
clear half-step sound while necessary. If you want to develop
sliding on a single finger without speed, use a minimum amount
creating a scoop or slide (or at of left-hand finger pressure. This
least minimizing the sound of will keep your fingers light and
it—unless, of course, you want quick when you need them for
to employ an obvious slide as a speed. The same theory applies
musical gesture). to your bow arm—make sure
Here’s how we do it. The you aren’t pressing too hard. The
sliding finger must ease into the left and right arms usually work
second note without adding bow together so if one arm is working
or finger pressure. As a matter of too hard, usually the other one
fact, the sensation should be one is, too. Try to stay as relaxed as
of lightening the finger between you can.

Stylistic Etudes for Solo Violin 21

 Half-Step Hiatus
Half-Step Hiatus
Composed by Jeremy Cohen Jeremy Cohen

Lightly Swung
q = 108-160
# 4 ≤j # œ œ b œ n œ
4

# œ œ bœ nœ n œ
4 0

œ
0

& 4œ œ œ #œ œ œ œ #œ œ #œ œ nœ #œ #œ œ
F

# œ nœ œ œ œ b œ n œ œ œ #œ œ bœ œ œ nœ
# œ n œ
4 4 0

b œ n œ œ œ bœ
0

& #œ œ nœ #œ #œ œ œ nœ œ œ
f

# bœ nœ œ #œ œ bœ œ #œ œ œ œ œ œ #œ œ œ œ œ œ nœ
4 4
8 0

& œ œœ œœ œ #œ œ nœ #œ
#œ œ
F

# nœ
4 4

œ œ œ œ œœ œ œ œ œ
œœœœœ #œ bœ nœ œ
12

& œ #œ œ nœ #œ #œ œ nœ œ œ bœ nœ
0

# œ nœ #œ #œ œ œ œ #œ œ bœ nœ œ œ
#œ œ bœ nœ
16

& bœ nœ œ bœ nœ œ œ Œ
f ˙.
≥
# œ # œ n œ œ nœ œ bœ œ œ # œ n œ #œ nœ nœ bœ œ œ bœ œ #œ nœ #œ œ nœ œ bœ œ #œ nœ #œ œ nœ
0 4 0 4
20

&
P f

24
# œ #œ nœ œ nœ œ bœ œ œ #œ nœ #œ nœ nœ bœ œ œ bœ œ #œ nœ #œ nœ nœ bœ œ #œ nœ nœ bœ
& œ bœ
P © 2010 by Violinjazz Publishing
All rights reserved
www.violinjazz.com

22 Stylistic Etudes for Solo Violin

 2
28
#
& œ œ bœ nœ œ œ œ bœ nœ œ œ bœ nœ œ bœ œ bœ nœ bœ nœ œ bœ
p n œ b œ œ œ b œ œ b œ n œ œ œ

# bœ œ
#œ œ bœ nœ
32 0 0

& œ œ bœ nœ œ œ œ bœ nœ œ b œ n œ œ œ bœ nœ nœ #œ œ
π œ bœ œ œ bœ œ nœ

# œ # œ n œ œ b œ n œ œ # œ œ # œ n œ œ b œ n œ œ # œ3 n œ œ b œ
4 0 4 0

œ #œ œ œ nœ œ œ bœ œ #œ œ œ nœ
36

&
f P

# œ bœ bœ œ #œ nœ œ bœ œ œ
40 0 4 4 3 4 0

& œ bœ nœ œ nœ œ nœ bœ œ bœ œ œ œ œ bœ nœ #œ
bœ nœ bœ nœ œ

#
& #œ œ bœ nœ œ nœ #œ œ #œ œ bœ nœ œ œ #œ œ œ nœ #œ œ nœ #œ #œ œ œ nœ #œ œ nœ #œ #œ œ
44

# b œ n œ œ œ # œ œ n œ # œ b œ n œ œ #œ œ 1 1 œ
bœ œ bœ œ œ œ bœ œ
2

& nœ œ
œ #œ œ
48

œ
œ
nœ œ
œ

œ # œ n œ œ b œ œ # 3œ n œ
# œ nœ œ bœ œ #œ nœ nœ bœ
1
52 1

& œ bœ œ #œ nœ nœ bœ

55
# œ
& œ bœ œ Œ Ó
œ nœ bœ nœ bœ nœ w œœ
.
p ƒ

Stylistic Etudes for Solo Violin 23

String Crossings—
Can You Handel It? Composed by Jeremy Cohen

Performance Notes

S
tring crossings are a right the surface of the string, stop hand fingers, and release this
arm exercise and here is the bow, cross the string silently. pressure to give the articulation
how they work. Let’s start Stop on the next string, gently of the new note. It’s like an apple
by playing an open D string. grip the string with your right a day!
Now cross over the A string to
play an open E string. That’s it!
Well, that’s the easy explanation.
The trick here is to make that
string crossing as inaudible as
possible. Do you hear string
noise as you cross the unused
string? Most of us do have some
degree of string noise when
crossing over open strings, but Some Other Tips:
that’s generally because of excess
bow movement.
Play the short notes (sixteenths) long and
Here is some advice. Use a
martelé attack on the beginning the long notes (eighths) short. Use a brushy
of the note. Decrease the longish stroke on those sixteenths in order
bow pressure at the end of the to keep them in good rhythm. If you tense up
note and then begin the string you will rush, so stay loose and really stick
crossing with your right elbow to the metronomic beat. Keep the eighth
while not pressing the bow
notes short and articulate. Accent only the
into the string. Got that? Now
release the pressure and let very beginning of the note, and release the
the bow gently cross over the pressure of the bow on the string as soon as
unused string. As you reach the the note sounds. Too much pressure on the
next string for the played note, string after the beginning of the note can
gently grip the string using light cause the sound to be heavy and pressed. So
pressure from your right hand
lighten up—you can do it.
bow grip so that you get a clean
attack on the next played note.
Repeat this process for EVERY
string crossing. Practice this
slowly! From a still bow resting
on the string, grip the string,
release the grip to articulate the
note, let the bow drift lightly on

StylisticEtudesforSoloViolin 25
 String Crossings—
Can
String You Handel
Crossings–Can It? It?
You Handel
Composed by Jeremy Cohen

Jeremy Cohen

q = 120
Near frog ≤. ≤ œ ≤. ≤. ≤. ≤.
## 4 ≥ œ œ œ
œ œ œ. œ œ œ œ œ œ œ œ œ œ
& 4œ œ œ œ œ
œ œ œ œ
œ
F
≤ ≤
1

œ1 œ # œ œ≤ œ
1

œ œ œ œ≤ œ≤ œ œ œ œ œ œ≤ œ #œ œ œ
sim.
4
## œ nœ œ œ œ
#œ œ œ
1

& œ œ œ œ œ œ nœ
œ #œ

≤1 œ œ ≤4
œ œ œ 1 œ œ
œ œ
8
## œ œ œ œ
œœ œœ œ
& œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ
œ œ
≤2 ≤≥≤
≤ ≤≥≤
11
##
œœ œ
œ œ œ œ œ1 n œ œ œ œ œ œ œ œ œ œ œ≤ 1
œœœœ
4

#œ œ 1
œ0 œ œ œ
œ œ 0 œ1 2 œ
& œ œ œ
#œ œ œ

œ , ≥ œœœœ œ
## 2 2 œ œ œ ≤ ≥ œ
œœ . œ œœœœ
4

œ œ
0

œ œ œ
14

& œ œ œ œ œ œœœ œœ œ œ ww
4

œ. œ
œ œ
F

## . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ≤. ≤. œ œ œ œœ œ œ œ œœ
œ œœœ œ œœœ
18

& œ œ. œ œ œ. œ œ. œ
œ.
© 2010 by Violinjazz Publishing
All rights reserved
www.violinjazz.com

26 StylisticEtudesforSoloViolin
 2
œ
## . œ œ œœ
œœ . œ œ œ œœ œ œ œœ œœ œ œ œ œ œ œ œ œœ œ œ œ œœ
œ œœœœœ œ
22

& œ œ œ œ œ œœ œ
œ œ

œ œ œœ œ œ œœ œ œ œœ œ œ œœ
œ œ œœ œ œœ œœ œ œœ œœ œ œ œ œ œ
3
26
## œœ œœ œœ
& œ œ œ œ œ œ œ œ œ œ œ
œ

œœœœ œœ . n ≥œ œ œ œ
œ
œœœœ 1 œ œœœœ 2
4

## œœ œ œ œ œ # œ œ2 œ œ œ nœ
1

œ
30

‰
1

& œ œ nœ œ œ
œ 3

≥
≤. ≤ , œ4 # œ œ œ œ œ. # œ2 œ œ .
## œ. ˙ œ œ œ œ œ. œ œ œ œ œ œ
1

n œ œ
34

& œ œ œ œ #œ œ œ œ nœ œ œ
œ 3 3 3

≤ œ ≤ ≤ ≤
37
## œ œ œ œ œ œ≤ œ œ œ œ œ≤ œ œ œ œ œ œ≤ œ œ œ œ œ œ≤
& œ œ œ œ œ œ œ œ œ œ
œ œ

≤ œ # œ œ1 œ # œ≤ œ≤ œ 1 œ œ
1 1

œ œ œ œ œ≤
4

## n œœ œ œœ n œœ œœ
#œ œ œ œ œ œ
41

& œ œ œ nœ œœœ
œ #œ œ œ œ

45
## œ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ≤ œ œ œ ≤
49
## œ œ œ œ œ œ≤ ≥œ ≤ ≥ ≤ œ
‰ œ
≥
& œ œ œ œ œ œœœ œ ww
.

StylisticEtudesforSoloViolin 27
 I
write these pieces in the
spirit of having the most
passionate fun I can have
with my instrument in my
hands. When the music speaks
louder than the technique, your
audience will know they are
hearing something really
special.
Always keep in mind that the most important element
in this entire book is style. Focus on sounding as authen­
tic as you can with each genre of music represented in
this collection. Research their stylistic roots a bit so you
can hear what they should sound like and then bring your
good ears and technique to making them sound as auth­
entic as possible. Your new discoveries will tell the story
of these styles.
Lastly, this book is not about playing carefully, it’s about
“going for it.” Be fearless about your music making and
don’t be afraid of making mistakes—we all learn from
them. Use them to bring up the level of your playing.
The world will be a better place when you bring more
quality and passion to your music!

Jeremy Cohen

28 StylisticEtudesforSoloViolin