You won't be alone there Solti. Good practice for damping though, and there's a lovely contrast when we reach the half notes at measure 21.soltirefa wrote:I find it kind of a hassle and prefer not to have to think about that.
We are often encouraged early in our studies to, "hold on to the bass notes" - unfortunately we can train ourselves so thoroughly that it becomes a habit. Holding (or not) is more useful with regard to articulation if we take account of duration, the end as well as the beginning of a sound - this étude supplies a relatively straightforward example for us to work on.
Perhaps think of those initial basses as punctuation - push them out with some weight and purpose and bring them to an end as cleanly as they begin. It may seem rather a simple exercise but playing the basses alone, clearly ariculating the silences whilst singing the scales, can be useful.
Although there are other methods (as you mentioned) I do prefer to use the thumb to stop the notes - for me it feels more controlled and rhythmically precise.
You didn't mention the figures beginning at measure 14? How annoying is it to end each of those runs on an eighth note ... ?
There's more to deal with:
Measures 21 and 22 employ minor 2nds. The first (D# to E) lends itself to over-ringing whilst the second (E toF) is usually executed on one string. Do we match the figures up by making sure that the D# doesn't ring? We could instead match the over-ringing effect by taking the F on string two. Or perhaps we should purposely let the one ring and the other not, emphasising the contrast ... ?
Measures 23/24 - should we emphasise the light anacrusis effect by phrasing the four descending scale fragments so that they each end on the beat? This follows the phrasing pattern set out from the beginning - might observing this aspect of the études general structure be beneficial? Maybe it will help when approaching measure 29 and those little arpeggios - how do we avoid cutting the last notes short before each shift?
If we do choose to emphasise the (supposed) anacruses one effect is to outline the long C major arpeggio in minims and its brief development- is that desirable?
Toward the end a satisfying balance is struck for the listener as the articulated rests return - if they have been communicated well in the first place that is.
These studies are fantastic intermediate level works - even the simplest of them are full of little devices for training the ears as well as the hands (we haven't even touched on the dynamic and expressive possibilities for bringing this one to life).
In short - I'd persevere with the rests.