Let’s finish off the Kreutzer Violin Etude #3. Section C starts from the middle of bar 12, riding a cool descending 4-note triad pattern all the way to the middle of bar 16. Check the tab below:
Since we know that a triad, regardless of type, is made up of stacked third intervals, and is spelled R-3-5 intervallically, this 4-note pattern is relatively simple to break down. Using the up-down arrow notation from before, the pattern goes up a third, down a fifth, then up a third, which returns to the first note of the 4-note phrase (↑3↓5↑3).
Just as intervals are the most basic building blocks of music, triads are the next logical extension of intervals. You can’t go wrong with learning and devising as many triad patterns on two and three strings (or more, for open-voiced triads, but we’ll cover that in another post) as possible.
Check out the basic descending 4-note triad pattern in the tab below. The 3rd note of each 4-note phrase is the root of each respective triad, so the 8 triads descending through the octave are: F major, E minor, D minor, C major, B diminished, A minor, G major, and F major. Even though it starts and ends with the F major triad, the sequence actually consists of the C major triads, as we’ll see in a minute.
Now let’s take the above triad sequence, and re-organize the 4-note patterns into the same order as the #3 etude.
It’s always useful to work melodic shapes along all possible string configurations, so for this example, make sure to map it along the other adjacent string pairs:
The etude ends with an arpeggio spanning an octave and a third (C to E’down pattern and playing it over and over again until it’s smooth and clean.
Here are the neck diagrams for the sequence of triadic arpeggios through the C major sale:
The corresponding tab is below. Again, try both alternate and sweep picking. The B diminished arpeggio is set up for string skipping, as it is simpler and cleaner that way.
The links below are complete tabs for the entire piece. The second version contains the alternate B section shown in the Part 2 post.
While the piece (like anything called an “etude”) itself is an exercise, the custom exercises designed around the sections will help you isolate associated techniques. Use the exercises to devise shapes and ideas of your own, to use as melodic phrases in your solos. Have fun!