Introducing the Positions for Violin, Vol. 2

From

the

RUBANK

EDUCATIONAL

LIBRARY

RUBANK ELEMENTARY METHODS A Series of Graded Fundamental Courses for Individual or Like-Instrument Class Instruction flUTE {Piccolo}

Petersen

CLARINET

Hovey

OBOE

Hovey

BASSOON.

Skornicka

SAXOPHONE

Hovey

CORNET or TRUMPET

Robinson

FRENCH HORN {Ep Alto-Mellophone} Skornicka TROMBONE or BARITONE

Long

ED or BB D BASS {Tuba} . Hovey DRUMS Yoder Whistler BElL LYRA . MARIMBA or XYlOPHONE . Peterson . Whistler TYMPANI GUIT AR {Spanish} DePressles VIOLIN · Potter VIOLA . · Ward CELLO. · Ward STRING BASS . · Ward

RUBANK INTERMEDIATE METHODS A Series of Graded Follow Up Courses for Individual or Like-Instrument Class Instruction FLUTE {Piccolo}

· Skornicka -Petersen

CLARINET

· . Skornicka-Miller

.

OBOE

· Voxman

TROMBONE or BARITONE . . . Skornicka -Boltz ED or BB D BASS {Tuba} · . . . . . . Skornicka-Boltz DRUMS . . . . . . . . . Buggert

· . . . Skornicka

MARIMBA-XYlOPHONE-VIBES . Jolliff

Skornkka-Koebner

BASSOON . SAXOPHONE

CORNET or TRUMPET

. . Skornkka

FRENCH HORN {ED Alto-Mellophone} . . . . . . Skornicka-Erdman

VIOLIN VIOLA . CELLO .

· Potter · Ward · Ward

RUBANK ADVANCED METHODS A Series of Outlined Courses of Studies Designed to Follow Any of the Various Elementary or Intermediate Method Series FLUTE, Vol. I

· Voxman-Gower

FLUTE, Vol. II

· Voxman

CLARINET, Vol. I .

· Voxman -Gower

CLARINET, Vol. II

· Voxman-Gower

OBOE, Vol. I

· Voxman-Gower

OBOE, Vol. II .

· Voxman

BASSOON, Vol. I

· Voxman-Gower

BASSOON, Vol. II

· Voxman

SAXOPHONE, Vol. I · Voxman-Gower SAXOPHONE, Vol. II . . . . Voxman CORNET or TRUMPET, Vol. I . . . .. Gower-Voxman

CORNET or TRUMPET, Vol. II · . . . . . . Gowe~Voxman FRENCH HORN, Vol. I . Gower-Voxman FRENCH HORN, Vol. II . Gower-Voxman TROMBONE or BARITONE, Vol. I · . . . . . . Gowe~Voxman TROMBONE or BARITONE, Vol. II · . . . . . . Gowe~Voxman ED or BB D BASS {Tuba}, Vol. I · . . . . . . Gower-Voxman ED or BB D BASS {Tuba}, Vol. II . Gower-Voxman DRUMS . . . . . . . .

. Whistler

CLASSIFIED CONTENTS Units

1- 3 4- 9 10- . .. 11- 12 13- 14 15- . .. 16- 31 32- . ..

The Second Position

Pale

Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Selected Studies in the Second Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Etude in C (Sitt). . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Key of F Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Key of Bil Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Advanced Etude in the Second Position (Rode). . . . . . . . . . . . . . . . . . . . . . . . . 8 Shifting from First to Second Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 10 Etude in the 1 st, 2nd and 3rd Positions (Sitt) . . . . . . . . . . . . . . . . . . . . . . . . . .. 12

The Fourth Position 33- 42 43- 44 45- 46 47- 48 49- 50 51- 66 67- ... 68- ... 69- . ..

Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . .. Key of F Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Key of Bil Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Key of G Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Key of D Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Shifting to the Fourth Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Etude in the Second and Fourth Positions (Schoen). . . . . . . . . . . . . . . . . . . . .. Shifting Etude Through Five Positions (Blumenstengel). . . . . . . . . . . . . . . . . . .. Advanced Shifting Etude Through Five Positions (Sitt). . . . . . . . . . . . . . . . . . ..

14 16 17 18 19 20 22 23 24

The Sixth Position 70- 80 81- . .. 82- . .. 83- 86 87- 94 95- . .. 96- . "

Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . .. Sixth Position Etude in C (Sitt). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Sixth Position Etude in G (Ries) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Sevcik Exercises for Shifting the Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Scholz Exercises for Shifting the Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. De Beriot Etude Melodique (2nd, 4th and 6th Positions)... . . . . . . . . . . . . .. Shifting Etude Through Six Positions (Sitt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..

26 28 30 32 33 34 36

The Seventh Position 97-107 108- . " 109- ... 110-125 126- ... 127- ... 128-131 132-140 141- ... 142- ... 143- ...

Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . .. Seventh Position Etude in F (Sitt). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Seventh Position Etude in G (Scholz). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. Shifting in the 3rd, 5th and 7th Positions. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. De Beriot Etude Harmonique (3rd, 5th and 7th Positions). . . . . . . . . . . . . . .. Shifting Etude Through Seven Positions (Sitt). . . . . . . . . . . . . . . . . . . . . . . . . . .. Schradieck Exercises for Shifting the Position (2nd through the 9th Position) . Arpeggi Through Higher Positions (Hermann). . . . . . . . . . . . . . . . . . . . . . . . .. Henning Allegro de Concert (Duet). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. De Beriot Etude Brillante (Through Higher Positions). . . . . . . . . . . . . . . . . . . .. Campagnoli Etude d'Artiste (Solo for the E String). . . . . . . . . . . . . . . . . . . . ..

INTRODUCING THE POSITIONS FOR VIOLIN-Vol. II

38 40 42 44 46 48 50 51 52 54 56

ee _______---,

for VIOLIN-Vol. II INTRODUCING THE POSITIONS, Volume Two, is a continuation of the course of study started in INTRODUCING THE POSITIONS, Volume One. In the latter work the third and fifth positions were taken up, and in the present work the second, fourth, sixth, seventh, and higher positions are introduced. It is true that violinists usually employ the third and fifth positions much more than any of the other higher positions; yet it also is true that they must become thoroughly acquainted with the second, fourth, sixth, and seventh positions. There are many passages in both solo and orchestral literature that can be played to a decided advantage by employing the second, fourth, or sixth positions. An untimely crossing of strings often is eliminated by using them, and again an undue amount of shifting sometimes is avoided. Furthermore, the works of various modern composers require that extensive use be made of these positions. As for the seventh position. it is used chiefly as a continuation of the shifting process in which the player goes from the first to the third position, and then from the third to the fifth position. The seventh, and even higher positions (eighth, ninth and tenth), are to be found in many passages of concertos and other virtuoso

SECOND, FOURTH, SIXTH AND SEVENTH POSITIONS

compositions, as well as in the works of advanced orchestral literature. The so-called "half position," which some violinists have considered a higher position, is in reality nothing more than a substitute fingering used chiefly to eliminate clumsy fingering in the first position. It is employed only for a few measures at a time in an occasional spot in etudes, solos, and concertos, and space is not sufficient in the present work to take up this substitute fingering. When encountering passages which are simplified by use of this substitute fingering, players should have no difficulty in performing them; in fact, a study of the passages themselves, when actually encountered, will suffice for a mastery of this so-called position. INTRODUCING THE POSITIONS, Volumes One and Two, constitute together, an introductory school of position playing. In the standard etudes of Kayser, Blurnenstengel, Mazas, Dont, Kreutzer, Fiorillo, Rode, Leonard, Danc1a, De Beriot, Rovelli and Gavinies, there are afforded many excellent opportunities for further study of the positions.

Harvey S. Whistler, Ph. D.

The Second Position This position is NOT to be studied until the player has completed all of the third and fifth position studies presented in "Introducing the Positions:' VoL I.

Preparatory Studies in the Key of C Major r--,

Prepare

1

~e

J~ 1

0

~

"Half- step; fingers close together

D String

G String

J J pSI 2

U

1

\I

Y

'6

I

1

4

3

2

I

0

0

1

I• 0

II

0

I'

3

2

II

I-

A String

I

CI 1

E String

I

I

0

C'

2

3

0

I

4

0

1

I

'6

.0.

2

3

~

II

4

III playillg pa:;iti01I:;, dO' nat emplay D'jJell E, A or D :;tl'ing:; IIl1le~'8 fingering i8 80 marked.

2

~

II

Ir; o

1

2

j

II: j

1

2

j

Ig j

(9)

~ f

r

r

I n IE

IF j

(HI)

Ij

j

Ij J Ij

J L---..

I; -

:11

ALARD

(9 )

~

r-1

F ( t 7)

~

r Ir

r------.

f f (2:')

~ r

If

J IJ

F IF

r

r Ir r

~

(13)

If f

If

f

r----,

r--,

If

f If f

(21) r----,

If F IF F IF F IF F IF

r

IF

F

(29)

j

IJ j

IJ j

Ij

j

Ij j

I;

J I;

~ Copyright MCM XLVI by Rubank, 'nc ., Chicago,'"

..

..

.

-

...

-

2 of 56

:11

Selected Studies in the Second Position ALARD

De SERIOT

5'II Jin E:jbw 13 n JIwJ:J:J m3J I; J ; r IJrJrIf rrFir! (~

Prepare

o

1 2

1

I

2

ALARD

t

(li)

r"I

(13)

~ i rr Ir rr Fir rr r Ir rr J IF; JJ iJ :JJ 3I:J J 3J I J I - :11 De SERIOT

(9)

r"I

(13)

, ?r FF IF r r r If r r JI; em r Ir r FJ I.J; r r Ir FJ J IJ ! 3 of 56

:lJ

Exercise HERMANN

(a)

Prepare

B .,

i

Jj J J II: JJJJ iJ J31EC !'J JJJJI a3JJ IT IT rJ IFr r r J~ J] I o 1 2 1

2

(5)

(7)

, nHUEflfEUErulcruccrfltUrerUlr Foundation

i -

:11

Study DANCLA

'I Jan 11:}a HfJ n lEE rr (E rr ICDr rr er nr 1r FE rJJ JJ I (a)

Prepare

9

o

(5)

,

1 2

1

(7)

j; J j JJ J 31 JJ JJ] 23 J1]2 3d] J 2J IJ J J JcJ (11)

t

1

(9)

g 1J~ ~ JEr~

(1a)

rfrnrrflrffrrHF IrFfrrfrr ICffcc(E rlrErrJJ J 3I (1;;)

(17)

(19)

, ilJJcrfFl[ccrJJJJIJJJJJJjJljjJdJJJlrCC[CITU I (21)

, rrriCfrflfLrr cr E:r ~ (25)

(23)

IJ;JJg JJj)

'UJjd JJj J I

(:1'7)_

~ J--O J~ .QiJ IPJ~.g J] IjJpafr IJ~J iJpJ11 !J 1] J 4 of 56

I :/1

Etude in C SITT

-I! ~

y

t

~~.fl- ~

1011Jh; II:; vJjJJlrrEFCfrtlf UfttflErECr Prepare

o

1 2

I I

1

~)

-

W

, FErrE 'lcrrr Ef If tfHrtlhftrCCrrlr Eta ft I 2

t

3

(13)1"'1

V

1"'1

V

fHqE[rIJ i[HJJJIHJ);, l13fir * I~IJJ' I 1

1"'1

V

.....

(17)

, jJ ]J f (tiE Fir tr F I IfF EF[ cEfiE EEF j J] J ICfEr Ef rF I 3

4

(21)

, rffli[cr r IErE FCrrClfcuJJ] J !JUJU]]] J ID~kEE~1 (25)

, ~£ Ff r rEEf I f FE rr F[ E I EfE ~r f f £r If FE r 8 (33) ~~

(29)

, dJJJJjJJIJJJJjHjldJJdcerFlr(EFJJjJ l~iJ:J (37)

, tirffPr r9Cr IiJJJi)j fi IBn Euri r

, ~r DJH ] Idb] JJ#J

(u)

J IcF

1"'1

J] I

Terri

arcrr IflU EHf I V

Pi f I IyfF r J I

I~~ EITt f

i

I

, !tffC'UrlrfFrrcrrlf£fffFUlrCHrUF

I

1

1"'1

V

(45)

(49)

¥fFrrJJJjIJJJJJJIjUJJc:rrJlr

r feErlE

i 5 of 56

:9

Key of F Major

Etude Also practice (1) slurring each foul" tones, and (2) slurring each complete measure.

SCHOLZ

Prepare

12

'~i ~ ~ II: ffrFer FliJ JUaB PIE OF FE( r r IJ JUJu rf I (5)

'~EErrHCrICCUrFFr IEfUHJJIJJJliJJJI (9)

(13)

,~ CE cfCfrrIJJJJfJ#ICErfrfu-IJJJJJJJJ ICEErFEr FI (17)

,~ Er rEf r rf IaErf rr rI[0 CFc f r FIE f f Fr err Irrj'f 0r r rI (21)

,~

U6 d H IfiCO[ FcF ITI frr rr rr rI[cer r mE rIfErfEr re I (25)

r

,~ r EOJ [ E& Ir r @' [ ELf IrE Or (i'E G1 r [,. Ef & I

¥

..

4

(2f1)

cr r EE ErHOr

Ff[ IF 0

1

1

JJ J]

njJ cr rr JJ 3J j JJ Jr I

1

.. Remain in the second position, merely stretching the first finger backward .

6 of 56

t

:11

Key of

B~

Major

Etude SITT

7 of 56

Advanced Etude in the Second Position (Based on a Rode Caprice)

RODE

,#

(7)

jJHrrEf[E[FIJJHrUFv

$#

,#

3

Br fi~

,~

fiQ

~

7

l#rftfrHfrfrrl

~

,~

[r [ r FEfer rr I biG E1 ~(G L1 [ [tiE r I ~f r:t~Er [ 0

0

~

f [ ErI

0~

EBEEP~t Hi'cui I; Fff~r rHrr 6r I Pc [rr [rr Ek rr I

(23)

,#

'*

V

(9)

HErr rEf frEr I~tr EF# bE pr fE rf I JJJ j PJ3 J ~ j 51) I ~~

rEb rI{Enell HEH EEt IfPE rr r£ rr Err I ~~

[IE Hncr Ef

8 of 56

~

(49)

(51)

,U Erf rrE Err IT F#r I G?j Jj sa FtrB~ I Jj 1j Jj j'9 rfi ti~ I ~

,U

(53)

M ij:p J1gJ£f IFE gd J]J 51 rJ I r

V

4' n

¥tfrcfUI

(55)

9 of 56

Shifting from First to Second Position When shifting fr-om the fir-st to a higher- position, do not take the finger- up and put it down a g ai n; i nstead, slide into the higher- position.

Shifting from One Finger to Another The student should shift for-war-d on the finger- that was last down, and likewise, shift backwar-d on the finger- that was last down. The small note in the following exer-cises indicates the movement of the finger- in shifting, and as the student perfects his ability to shift from one note to another, the small note eventually must not be heard.

10 of 56

A String

D String

(A)

r"1

(8) r'l

..r3f!J :11: l±!!r r8@ ;11: t:@r r-tstP

;~~ ~ # - J :11:#3+

28e

(C) ,.,

""

(0) r'l

''''

G String

11 of 56

j

Etude in the 1st, 2nd and 3rd Positions SITT

Also practice slowly, using a separate bow for each tone.

32

$

('

V

n 0

j JJ J 3

~

4

~

'~rni

JJJ) itl) td2J I JJ1JBJ fr rJ f 0

I

II pas.

$ Effr fffre Efr rro 10 [Wr lID ~ll (3)

_______

~

~

III pas .

I pas.

t ( 5)

~

liiJ JlD lBS 60 IWJ sID 0

0

4

1

II pas.

~ ~

un "EI I pas.

(9)

~

ll!? lJJJ Ja J ] JJJy I lda J @9 ttt;, --=-----~ II pas.

(15)

' ! j ------r-~

M '

III pas. ~

~

~ , r Ft r r~ nFff1

~

EN r; I

III pas.

I pas.

4,

II pas.

~ ~' dID I,m ('JUJE tUr l§JJ 2

0

0

,

12 of 56

(HI)

r;;

~~...

, Jl!tJ t!tJ ill} d22J @J 00l Ftir 0,t Vi

i

°

I pas. (21)

~

,

" pas.

t1

E

1

.

III pas.

---=-----g _____ f d f r r r r r HC Ef r ID! I I pas.

~

,m tiff?} ffiJ II pas.

J J 0j

1

~

(23)

$zjJJ lOJ; J Jj 0 J HO J I lOd a @J ill' (fifO 1 ~

~

I pas.

~

~

~

Illpas.

" pas.

(27)

0

1

4

Iii pas.

1

~

, 4l2J illJ 4!±9 @) I UlJ Em fill k Ed t III pas.

I pas.

~

~

, t f d f rf~E ~r ®r W"'~ (29)

I pas.

I

dr Sf'@J] J J 2!tJ • ~ ~

, JEJ UD =Jl.!j em ffft @} tffd (31)

4

4

1

(33)

0

0

JJ!) lB3 EEg Z!1J 1

g

"

•

1

,

0

1

0

~

ldl~~ (fR EEE r EFi} 1 I pas.

JJ

JJ '---=--

tID an RU @J

fID

1

" pas. 1

0

0

I pas. (3:;)

1

1

II pas.

,

1

" pas.

III pas. ______

j

~

Err Ef r f

em I pos. 2

13 of 56

1

The Fourth Position Preparatory Studies in the Key of C Major G String

!

33

r'l

Pl'"epal'"e

ii db J I ll

u

123{

V

r'l

34 ' I l

j j

1

D String

~

E String

A String

2

2

1,---.

,---,;----,

;:

.:,.

I~~, I; II:, I: I': 17 II" I'" I I I 2

3

~

.n

n

4

e-

I I I I

3

n

I U IJ J I

III pos. IVpos.

(5)

~

~

~

IFF IIT F If j

IJ

j

~

I=

~

I

1

Ij J I;

'----..J

:11

III pos.

De BERIOr

35

~ Il

3J IJ J IJ J IJ J IJ j V

W

W

IJ d II" r- I~ I" IJ d II"

r

I

III pos.IVpos. (Remain in fou..th position,)

(Vi)

(17)

(21)

; F F IF- F II" F IF F If F IF f IF F If F If f IF f If F If ~ I

~~

, f F If F IF IT IfF lIT

r lIT F IF-

~~

f If F If

~~

r II" r 14 r IF r I III pos.

I pos.

14 of 56

High Tones in the Fourth Position

III pas. IV pos .

1"'1

Pt"epat"e

38

V

'1\ [t f t II, E[

(5) 1"'1

If IT I f IT If - It f Iff I[ IT If - ,I

III pas. IV pas.

Pt"epat"e

39$11 ~ tHII, CEI[

(5) 1"'1

flf f If - Iff Iff If [

If -

,II

III pas. IV pos.

Technic Builders Pt"epat"e

40

&11

(A) 1"'1

V

(B) 1"'1

V

(B) 1"'1

fEn II,sffrlfrfflfffFlffftll,rffflfftflfffflfftfl III pas. IV pas.

41

&11

~

~

~

HrrIIIffr Iffff Ifffr Iffffll,fffrlftfrlffftlfffCII

Pt"epat"e

(A) 1"'1

III pas. IV pes.

Extending the Fourth Finger

15 of 56

Key of F Major ,",(5)~

Scale of F Major

P~epo~e

4

4

4

4,

~

i~e i; ~} I:J wfr 1m r fr Ire rr Ifffflffffitre r Ire r r Ir1 ; J:11

43

(1

III pos. IV pos.

Etude DANCLA

i ~ i L~ nil: 1P~ IF ;J P~epo~e

M

44

IJ

III pos. IV pos.

M

f~ J (17)

n

i~ J

r V

r-

IF ;J IJ

Fr Ir

n Ir r if r Ir- r IJ R IJ J I (5J

~~

Ir r Ir

r-

r-

Ir JIf IF"

I~F J t 13 r Ir- ~ r * I~r E Ir= r I r

(2:;)

(21)

~ (29)

~'

r

i

I

IFe f)

I

~

i~ HUlfc=rlfeOlferflf4frnl¥1rllfUil rJ;J I ___

t!:-

J

~~

~~

,~

V J] IJj ~ IV J] I; ; r riC r r J IJJr r Ir r r J IJ ; mr I

~

~

(41)

@~

~

r"1

f!

(45)

RFP Ir' t IJ7f Ir~~ IJ

If r Ir r IJ

(53)

,~

~~

~

j

WIsTfr Iff' I(fEr

r

I

rr Ifffr In J71VrJ I i

4

16 of 56

Key of Bb Major Scale of Prepare M

~

,.,

Bb

Major (b) ~)

(~)

V

~ -fI-

~

45~IJO JJ r r II:rrrrr IrrEEI ,

1 2 S

2

III pos.

(5)

(b)

(b)

(~) (b) ~ -fI. .,. ~

ErrlrFr FIrrF r l[rETITEE FIrFrfl

2

IV pos.

Etude RIES

Prepare

46

rm rull dm U!-J 00 ldl~ EFU jft}

Also practice slowly, using a separate bow for each tone. V (3)

'~Il !~ [[II:

I

I

br ,~ We frh IEWGur ImettEfl £fftr~ III pas.

IVpos.

(5)

(9)

~

(7)

I

Y---~ ~m '----g ,,~---=-rFrFcffJlQrfff jErlcFF! 71CFFl rFrlrcrcrFfFI

~I ~ ~ 1

I

,

S 2

;--.......

11 2

----......

t:

1

----......

(13)

"

(Keep 2nd finger down) ................. . ...

I ..;..---...

(11)

(15)

"'.---.

~

(Keep 1st finger down) ..••.•....••..••... ..

~

~ ~

'"

(Keep 2nd finger

(17)

'~llrfrrH Er IaU{~rfEr IrffptH rIm4QIJ I®@I dow n) ........ .... ...... . . .....

(Keep 1st fi n ge r dow n) ...................... .

17 of 56

Key of G Major

Scale of G Major ,., V

Prepare

47

,.,

r-,

(5)

,.,

I'"--J

&ij 4~ i rII, ~ J fr IF rFrIrrEriff JJ IJJ fr IrFrr Irrr r In ~ J:11 II

IIlp./Vpos.

Etude RIES Also practice slowly, using a separate bow for each tone. ,., V (3)

Prepare

48

II! ] j ~ : II: tJ DB d 18 JJ tJ 81 tJ tJ tJ D Iid ~~ tJ !~ I 1

1

Illp.lVpos.

'-E - - -

&ti 0 nUn Ig H n fr Ir =f r ff 0 (5)

(7)

(25)

'ti fT 0

(f Cr IF1 (E

--"

I(f Fe til' rr I

(27)

rf ft In ftc t CF I DtJ bl tJ I 18 of 56

Key of 0 Major

Etude SITT

19 of 56

Shifting to the Fourth Position The student must remember that in shifting from one position to another he is NOT to take the finger up and put it down again; instead, he is to slide into the higher position.

FROM THIRD TO FOURTH POSITION

IKe y of C I (A)

r"! 1.---,1::-,\1

51

r"!

(8)

~ 2

2 (C)

,......"

~

1)

----f:.f:."'"

1)

(D)

~4o ~4o (E)

t:.t:.t:t:.

(F") r"!

r-:

(H) r"!

(G) _

4

4

4

$11 rHr.II,tfff'llftttllynhll,riti :11:rr [1 ,ute FlHI.fffr ill I I

1)

1)

FROM SECOND TO FOURTH POSITION

20 of 56

FROM FIRST TO F'OURTH POSITION

Shifting from One Finger to Another The student must remember to shift forward on the finger that was last down, and likewise to shift backward on the finger that was last down. The student also must remember that the small note in the following exercises merely indicates the movement of the finger in shifting, and as the ability to shift from one note to another is perfected, the small note eventually must not be heard.

21 of 56

Etude in the Second and Fourth Positions

67

'1

SCHOEN Prepare

dO j j

n V

(5)

~ ~tEE

1

Ilop JIJr er Irar r Irrr r Irar r Ir r r I=== t r( r i IV pos.

3 2 122

II pes.

,cfrfftrr;')afrrrUICfErCCrrlr Err r (13)

I~cffft(cn k

(17)

, rr~frEE(; I; 9 I] ~r 10 In JkJ laIr r r Irrrr I#r ee tit ern I II pes.

(29)

, fa r)f I_trr Ir rtr IrtU[rW ,PH EttJ IJr r"r Ir#H he I 2

i $(33)r #e Ve Irtbt r I#r rVe INr r Pr Ire ErrErt IfffEr f r I p~.

~

(i5)

~

~

, fdrcue IrfrUfrr ItHfJJJJ IJ Fa r IFgJ aIJr U 1[2jj I IVpes.

II pes.

"pos.

(i9)

, ~J'lrbr Irtfr ~(rtffffftffturr r ICUi H JJ IjndJ JUJ I IVpos.

II pos.

, P J3JJJJ(i; Dr dl t ftfftlfffrffftit Ef f If IVpes. 22 of 56

I :11

Shifting Etude (Through Five Positions) BLUMENSTENGEL

*dO P r [e r Ir tr rtf f t Iff fa t '4

68

3

(3)

f

Il

3

,V pes.

I pes .

b'4

(11)

d j P Jb I

CE I

(13)

4,

1

, [[rEICer r IjJJJ"~ffIT ITUcllE G"rr IPrEr"fHf I V pos.

"' pes.

4 0

~

, "JJJ Jc#E rt I#f rfJEhfs. IJ JJ3tr cHI IfnJ rr U I (

)

(21)

"' pes.

(23)

1

, pes.

"' pes.

'i'

(25)

4,

V pes .

, pos.

(27) '"'

, jJjsrC Fi ifrftCUJ Imad ar IhzFfc rrI[HEEtEr I 1

" pes.

3

"' pOS.

, pes.

1

'v pes.

g~

V pes.

(29)

4,

4

I pos.

(31)

3

~

, rFE rEt r; iJ j j JFE FJ If IT fIT f f t r Ir IT tf frrr I '" pes. , pes.

"'

(3 3)

V pes .

'4

(35)

, fr cf rrrfltffr-ftfr I CEu ndg 1~3 P r rtf IA nJ t :g , 'pos.

'v pos .

pes

.

4,

II pes.

23 of 56

Advanced Shifting Etude (Thr-ough Five Positions) SITT

I pos.

$~ EUa! " pos.

III pos. V pos.

III pos.

I pos.

rU d7f lUf ,l~f1 tfiJ=rp ,mill (9)n

IV pos.

(13)

~

~

IV pos.

III pos.

In

------

" pos.

~ 1

I pos.

t!:\o

£If ) I I pos.

V pos .

\I pos.

III pos.

IV pos.

(~)t. ~-.....

.- CgrrTi lEi!ticr; IEtiEft: f f ItftEf tit IVpos.

I

III pos.

Vpos.

I pos.

24 of 56

~

_

~

(53)

~~

'~F" tf!1?JlrifWfrltLfitf Elf ftf~ttfl III pes.

~

~

III pes.

IV pes.

. t:.~

~~(57)

~

~~ £fEEErg~dtirrrlf rffrrf IE£f[FrrrFE(flf {ffrtirFI IV pes .

II pes.

III pes.

I pes .

~(61)~

,~ r' \[TrJifr la2fc[(r_I =fiiffffterul ffqfff difu I ,~

rer l!d±:tJ I4lE!J Jl1W I j2J819 4221D I 3

II pes.

0

I pes.

4.

1

02

III pes .

I pes .

2

3

III pes .

I pes .

III pes.

25 of 56

The Sixth Position At this sta-ge of advancement,the st~dent, in addition to taking up the Sixth Position, should turn to the Keloeber Artil>t Scale al/d Chord Studies for thIJ Via/ill, and in a systematic fashion, study the advanced technical exercises presented in this valuable work.

Preparatory Studies in the Key of C Major The fingering of the sixth position is the same as the fingering of the second position (i.e., identical notes require the same fingers), only a string lower, and ata higher place onthe fingerboard.

71

'II j J 1

(G String)

~

.----:!

Ij

I; j

2 1 II pos .

P

2

j

1 IV pos . (13)

Ij

j

(9) ~

1'~ r Ir

r

Fin IIT

r---,

,F EItrlrE IFf Ife IE

FIE r 'ir riLl

IJ j

Ij j

••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• - ••••••••••••••••••••••••••••••••• 1V po s.

'iJJJJ

,--, (5)

Ij - :11

II P 0 s.

.........

1 g~E~ ~~~g f ~ I; J; : II:~JJ FIrmr m Irrfq===j == I=rtrlrrr r IF JJr:11 r -I

Prepare

72

Iff I

VI pos ..••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• _ •••••••••••••••••• - ••••_-_ ••

121 2 3 1 II pos. IV pos .

0~

V

,--,

VI pos.(Remain in sixth position.>

~o

4 r r r r Irrr LIrrc r Irrt f Irrr r Irrr r IrH r Irrr JIr rr tAl 26 of 56

High Tones in the Sixth Position

II pos.

'Il t~

Prepare

76

IV pos.

VI pos .

r'1

v~

(~

r--,

h:g IT lEt Itt IE- If IT 1ft 1ft It - :11

H In k II pos .

IV pos.

VI pas.

r'1

Prepare

V

~

77tll HHI~Hhg f It t IE EIt II pas .

IV pas .

(6) r'1

r----,

It f It IT IE EIf. :11

VI pas.

Technic Builders

II pas.

IV pas.

VI pos .

II pas.

IV pas.

VI pas.

Extending the Fourth Finger

27 of 56

Sixth Position Etude in C SilT (Remain in sixth position.) P~epa~e

~

V

~

81$ JJ J J iJ J F r II: (r rIfE Er lEE rf £[ ErifE Eerr EnI II

12123

II pos.

1 23 IV pos.

(9)

VI pos.

yfft r rf C r IE rf fr f f f If[ ff FO [r I cr

rr ~ f fr I

$ fE fr fr [r I r cf f b~ f f fir f rrr 0~£ rIErr Per F] I (13)

*iJJJrrtfJftrffnflff£rfrtfllfff[rfflifrtfft: r (17)

28 of 56

I

~

~9)

, rrrrEflflrrrrBE(J I[rfrfr[r IF1Ef[[rtIErFrfrEr I --

(53)

,......

, cfrHfftlfrfrfrfr I[[C; {UflffCrfFff Iffffffffl

(61) r--

(65)

,......

a

, ftfHfrfI F?rrfrr r 1i5: crate I[Urcr"Ef I er[[ rr , ,......

~~

, (rEeEcEe ,EffHHrl fcfrErEr ,Hce {r cf,ner fH r , ___

(73)

, ffrtffff,rtfrn rr' EE cftc Fr IfSCrO rr IJVJfr rr , (77)

, frrffffflHfifff,EfcfffEr 'fuCL[ErlurE f ~ 29 of 56

:11

Sixth Position Etude in G RIES

(Remain in sixth position.)

'i

Prepare

82 ,till

,t

JjJ J I; 2 1 2 3 II pas.

ftt

q ---.

~:""'\

n;II: f1'H HerrE rEt IfF[FIiEIf tFtrB[f rEI

1 IV p. VI pas.

V

VI pas.

r

r , Err t t t rtf f Iff Ef "f r r EEr f t f ~ i I

(5)

*ti f f f f LrEr i [ Err f f r If~f r rae; rEb[ E ,r i ~ I

(11)

*ti r FEr [tic ~ rr t f f f trlE IF I Er [ f tic ~Ff r f fEr f 'Or I f

(13)

r-

IQ r rtf

Gi

rnn r rbb FI Em IF Cr f r-

~

f £1 n [ ["r r I

30 of 56

~

r

(25)

~ ~

r

,~ PC r "C\r Epm f t f ftc r IT IITf R r E\rn r

ar P r r r ~~___

t

I

,t~EIT- an t*€tt r flf r tn TIft EEf E*r nfr F[E r I

4'

3

,~("l br1~r Hrflf(r .1 ijJJgfffifffftrr I == "[if ~~= -: E: :~ St _#~C Iii

'ti H pet r TI rr Ef r (33)

~

E

UHF I r

,t !f~t ft E [r ptr l

E

E

r TI

U I[

b

:1)~ ---~ ---

___

fr H Iff F f t t f r t I

ffr Eff E~r TIE r r~c r rI

,tl[lr er btnfmrEtOr Ji.J J#j Ir r r~ dilJen, -ina I

,rlj §&Pr rn11rrE

[rftttlE fEr effECr g;J 31 of 56

:11

Sevcik Exercises for Shifting the Position SECOND TO FOURTH AND FOURTH TO SIXTH POSITIONS G St; In . 9 -------- --------- ----------- ---------------- -- -- ------------ -(3~ S t ri n 9 ------ ---- --- ---- -------- -- ---- ----- ----------------- ---

~

eJ 4!!E

~e

ill

83

1421 ~ 181;f!£ti I@!§i

•

11

1

( )A Stnng _______________ _______________________ ._._________________

i' ~ ~.

YT:

11

4

~.

1

1

1

I

n ng __________________ _ ESt·

(,) V!~

1~~·······y.:::i·;7i

~ ~ ~r IrEf crEr f ICft attrf IUt/ffft :11 G ~tr i n 9 ___________ . ______ -______ .... _---- --.------.. --------.... - (3)0 Str i n 9 --------. ------ -- -- -------------- --------------------------

84 $Il 4lli9 gil (5)

A Std n 9 _____________________________

wm i!!m

~--- .. ----------

ItmU

Or ItiE? W- I

E St .

2

3

4

n n 9 ------------------ ----------------.. --------------------------

$ WilifcEit IrrrpErrruf 7frfffiffirf I«tID_ ··1 2

2

3

4

2

2

S

4

G St ri ng _______________________________ .. ______________________ .. ___

85

~~

I

S

4

,

~,..

" I

1

3

3

3

E St rI. ng ------- - ----------------'----.----~--------------1 3

f~(')~~

,

, ' I ,

G St ring ______________________________________________________ ._____

~€

" .

~ ~

,

,

·11

0 Stri ng

~Il ~:rm9 1jj~5fJ:tmf lrmtiimiliiiiif 1

~1

1

(_) A St ri n 9 ________________________________________________________ .. ___ __

i

2

2

Pililiu',itaU-jr I sa H1E:! r I W aLrE:! f I crEEAr f If rt 1ft 3~3

1

(5) A Stri ng .-----.. --------.. -------------------~--------------

86

4

0 Std n

$Il fp 3j JJ 11 ~ I~fJ j ('( a--=----1~

~

~ 2"

2

l~l/T::

~ d Ei (Cur

I

1~1

-

L

.I

~

E S tri n 9 ------------------ -------- ---------- ----------------- ----------

,~~(')~~

""L~

crew LCUf IrtrEE; tUff IrUtd fffh . 1

1

1

2

1

1

1

2

32 of 56

·11

Scholz Exercises for Shifting the Position SECOND TO FOURTH POSITION

87 'Il

,., }vI 2 I

~ V I 1 I 2 I ~

)t' t t" t -1 ~ ~l"t' ,Ij' " , , , '(O)'~'~' f =f I ll"l" L :IIFU rr I r r Er:11: Ef:1I 2

I

I

2

rr

(A) ' - '

(B)

,.,

,.,

V

88'dAd HIJJ 2 I

2

I

2

1

~ ~

OJ

V

,.,

(B)

A Str I ng .................... _........................................ .

~212V,., 1 2 I

V

2

rr cr

(C),

E St ri n 9 ......................................................

(A) 2

2

V

2 1 (e) 2

2 1 2

1

2

1 ~ 1

,.,

(0) 2

V 2 1 2 1 2 1 2 1

~ :11:@O@:II:j:3iJJJ IJnJ :11)4JjJJJjJI -------- -------

D Stri ng .....................•...............................•.... G String ........................................................ .

FIRST TO FOURTH POSITION

V

3 "'}I)1 (A) 3 -~.fl

89

1

3.f!

I

3~

,., 3 V ~~1

1

~'}.fl 3.fl

-fL

(B) 3

.fl. 3.fl.

E St n ng ............................. _... .. _. ..... ..............

,.,

(A) 3

90 'II

V

3 1 3

1

3

1

3

1

(B)

~ 3131~1

(e)

3V

~ d~)l

rfr IfF r L :III rfrfrfqW

$" f

3

,.,

3

VI

~ ~1

rrr Irr Er :lIf rr rr rf F:II 3

1

I

3

1

(0)

A Stn n 9 ........ . _............................................... .

,., 3 1 (e) 3

V

3 1 3

1

3

1

3

1

('" 0) 3

V

3 1~ 1 3 1 ~ 1

;p\Jj J I; J J J :IH@9ld@:II'J_tfr>JJJ IJ JJ J :11J;1'iJjJjJjJ :11 D Stri n 9 ......... ................................................

G Stri ng ..............................~....~..

FOURTH TO SIXTH POSITION

g

2V })121

(A)t~- f~~

91

~ (~

-I

212

~ V 2())121~

1

f ~ ~~

:11: - : 1 1 :

E String ........................... ...............................

( ) ,.,

V

)'"

2 1

2

~

V

2V

(~1

,., 1

2

1

2

1

(0)

1~1

2

~ ~

r rrr 1r r r r :11: r> 2

1

ErE r ErE :11

A Stri ng ............................................. _............. .

(e) ,.,

V

(0)

~

1

V

rJ"'r r rIr r rr :11: G@ :II:;;N JJIJ J j J :11: 4:~un!lj

A,

92 'II

2

,.,

(B)£;- E E g E E E t ( e ) 2

'"

2

,

2,

(B

""

D String ...........................................................

,..,""

'"

2 , "

:11

G String ......................................................... .

SECOND TO SIXTH POSITION ~ V

4V

1. ~1 ,., ~ V (A)(=f~~ ~ ~ ~f (B)E/=fEEEEE~(C)4 (~1)1

"2

93

(10 1

4

1

'(~ - I

4

1

4

1

4

(J.f)

:11: -

:11:

E Stri ng ......... ......... .•......................................

(B)'"

4

~1 Y 1

1 4

V

4~ ~1

r/- rr r 1r r r r:11: r -ErE r ErE :11 41

4

1

4

1

(0) 4,-(.1 1)1

A Stri ng .......................................................... .

( )

r"'1

v i

4 1

V

~~~~~1~4~1~4~1~~4~~~1~4~1€~~li4~~~e~4~~41~4~1~4~1~4~1~(0~)~~~4~1~4~1~4~ltB

94~

D String ......................................................... _..

G String ................... ... _.... __ ..~....~..

33 of 56

Etude Melodique 2nd,

4th and 6th Posit i on s De BERfOT

'II ~ r grr rFf rif rn rfer Hrfft Er rr r;r B P

95

repare

Also practice (1) slurring each four tones, and (2) slurring each eight tones. I"'l V

II:

F

I

FI

\I pos.

(3)

, ,ni Err r cf rj [ H; I d (1 rc Pi jnJH J\JJ JI

34 of 56

( 19)

,

ntfrEfftrtftr\FUI~Efrrrrr~EffEfEE

I

f) r E[ f f rf f f f r r [r r! lEt f f f f fref f Egi f t I f) nt f ff [f f fEE r rr Er I sr hI IT f FE IT f f t gr 5 r I ,(25) rEf f f f f f f f f t gE[ Fir Ef Ff fEr f [ r F ~ ~ Fr I

f)

r F} rEf ffEE r UDi I r II pos.

(

r[F b[

Er 1'j

j] 13 J J

~

(2fi)

t11 rj r r Er kJ Jj 1J Jj I J JJ J JJ J J dfid J j r Err I ~

(31)

,

k r r r E[

Cr EHe Err EEf If: rEf f!)f E; Lj JJ J JJJ I

35 of 56

Shifti ng Etude (Through Six Positions) SITT

III pas.

I pas.

IV pas. III pas.

(37)

,~ hr-hrfftf ,fflUqIUlfftfvr I;';Er[[UnrUH lIe ~ Errfl IV pas.

III pas.

I pas. (53)

1

1

b q

b

2

~~ JMJJd Ie c~cr rf IIEE EuNtHff VI iff HflhHtclEbr I III pas.

IVp. VI pas.

IV pas.

36 of 56

2

3

(57) 0

0

0

1

~~ ~

1 (61)

,~ ~J~J~J JJ IJJlh JJ JI\j~JjJJJlrrrrrr ICiCCiClfH+t!1 II pes.

I pes.

II pes.

(69)

IV pes.

VI pes.

(73)

o

0

0

i

~t

0

1

!:~¥

,~ Jd JJ#J JI~JJJJJJ I~rrrp'! I#JjjJJ J I~rrn iff ItiCfUyf I I..J

I pes.

III pes.

(77)

,~

2

i i i

0

oJ

0

0

J dJJ JiJ lrurcfl fHrrrlcc[[rrIJJJJJJ IljjHJI ~ I pes.

-r err IftfffFluffff frdWr If rr IrccrEflffHul (81)

1

IV pes.

4ti

~ !~

1

!t

2

VI pes.

€

1

r--

(85)

IV pes.

2 (89

feEfEf IfcfffrltfffftlftEc Er Ir#r r [r r Ire r Efn VI pes.

(93)

'ti

-#-

IV pes.

1

II pes.

2

IV pes.

(97)

{flHfF If crtEflfffffr ItHfft IHEr U I[Mer r( rI VI pes.

IV pes.

(101)

II 1

pes.

(105)

&~ JljJJJJJIJJjJJJI;J JJ1nl f? r IfftlfcfHFltrcEffg I pes.

~

IVpos.

t t pf;ttErlucrfntEffcrlFErrfJ UHrl

'~~ ~

&ti EfflEE

III pes.

(109)

<>

~

2

VI pes.

IVp.

37 of 56

The Seventh Position Preparatory Studies in the Key of C Major The fingering of the seventh position is the same as the fingering of the third position (i.e., identical notes require the same fingers), only a string lower, and at a higher place on the fingerboard.

~ e J] Ij

Gr'1

Prepare

97

1

1

2

III pas.

98

V pas.

j ] Ij III pas.

t

2

I

0

CI

1 2 VII pas.

G String

~!l ~

JI

Str~ng ~

r.,

-$ [ [

~

I

or I 3

0

~

In I I 0

~

~

I

~

I

~

I

.Q.

I I

1

~

2

.Q..Q.

I

4

n. --

I II

I

n

(9~ (5)

~

IF r- IF

~

f:

~ ~

t:

~

r Ir f If5 t It [ 1Ft I

VII pas •..•...•...................................•......•................................................••.••...•

(13)

(17)

r--,

It f It f If IT IfF IF

FTF

d I]

. .....................................................................................................................

,-,

99

,---~.

4

4

j 1<) ;J I

V pas.

n

D Stri ng 1

E Stri!2.S1

A String

J I] ] Ij -

(5)

'IP~'i~'~ II: ~ j rr Irfr eIriffltEEt IfEU1Efir IFf? rIrr JF

SCHOLZ

:11 F= -

1 ~ 1 G String

:11

V pos_ ....... .111 pas ......... .

I

VII pos.(Remain in seventh position.)

SCHOLZ

(9)

, rfEtlfftf Intfr It err Ie rr r IF rr r IrJFdIJ r Fr If rr r I (17)

(21)

, rr rr Irt r f Irtf f 1ft Er It err Ir rr r Ir r rr Irr p :11 38 of 56

High Tones in the Seventh Position

V

1"'1

r-,

(5) 1"'1

r--T

1024I1Tr~rffffll:¥f3f (It f If. If f If (If rI~· :1 01212121

VII pas.

V

1"'1

r---.,

(5) 1"'1

103 , ~rr'i Iffffll,ff Jt f 1ft If. Iff Iff Irfir. :1 II

01212121

VII pas.

104

,---r

V

1"'1

(5) 1"'1

r---,

r

r--,

$" [err IrtfJII:! f Iff If ( If. Iff If ~ I f If. :1 o

1 2 1

2

2

VII pas.

Technic Builders (A)

1"'1

V

(8)1"'1

105 &e PiT~'r frtfll:VfElffftlffffl ftft:II'WIITW Iff~flmfll 012121

V

II pas.

V

(A)

(6)1"'1

106 +1 ~T;';.,fffll:!ffflfffflfEtfltftfll:tffflfffflfffflffftll 01212121

VII pas.

Extending the Fourth Finger 1"'1

V

4'

i'

(5)

'4

4'

107 &ll Err ~~!f Ilflfl rrIFEftlE f ,fift, t f IEfft, ~. :1 VII pas.

39 of 56

Seventh Position Etude in F SITT

108

'~Il

~11

Prepare

V

~

~

r ~f

J J r r IF r Fr liFe frrtt fiE

1 2 1 2 1 2 11 11 D St ri n g ..••..••.•.....••••••••••

:-'\

~ ~(,) ~ ~

~ r-

r riff ItErrrtt f I

VII pos. (Remai n in seventh positi on.)

(35)

(37)

,~(33) fr ffftffliUfffif1tffUi{flffFff£(flf?fFfE {fl 40 of 56

41 of 56

)

I

)

""....,

.......

)

)

'-'

....... ....,

,e

)

'-'

'"

....... ....,

~\

~

II~\~

11111"

'-'

""'"

.......

)

rill[ ;

IIr1tt~

II~

I)§ E I

)

II~,

II~'\

'-'

,....

0>

~

)

'",., )'-'

)

~

I~)

l.-rTa.

._ ..

.......

~

IlUI)

)

~I)

lWl)

IllTl

iW

!M..;

UllD WI I')

rmtm.~

II1III I 1-

I I r++t.I.

IWI)

11

II~)

rum'

IIliL.E IIITl,

rntt.,

11 111.

..lim )

I)

)

)

llnl;

~

~

Seventh Position Etude in G SCHOLZ Also pr-actice slowly, using a separ-ate bow for- each tone. ~

Pr-epar-e

109

$g

II

JJ J J 2

1

2

G Str-ing

1

II:

V

rnA 81) IDA aD 100 d11) IDA mID VII pos. {Remain in seventh positionJ

--- iW fffi

FEF I :~ .h :'E !. ~.

(11)

$#

~

I

1

________

___________

FE U Crr r rr U

I

fID tZE? em I

ffi}

4'

~

'4'

'4

~

4'~ 4'

4'

~

~

r r f t Irr rr rr Er Ec f r r r [f I _____

,r EnTre fm iffftrri lifEr ffrrfffirt1b --------- ----------- -=---=---

r u err fF?r frf1 rr r rwfa t (15)

~

___________

~

o

(1 7)

~~

~

&# f fa f Efa f rID mIl #2tJ ()

0

!:.___________

t

~

::----.....

fa t f rg r f fa r I 0

0

0

ega lEtD £iEg 42 of 56

~~~-----------------~---------~

,~25) t ff f FE IT EFE EE Fi t f IfEE f eft ff FEf t Fi fI i

4'

i

i

4'

4'

4'

4'

---------

---------

,;") Ef fr if if iE fr tff t lEW F~tf t fErE TIt f I ~

~

~

~

~

43 of 56

Shifting in the 3rd,Sth and 7th Positions· G

String

V

1/1 pos.

J IJ J

3" J J J

I pos.

~ j 1 :±

:11

1:zJ

II

J J 3_ _<J) J ~---(~ ~ :11 4

J

II

J

II

;11

J

II

ltJr;J 3 J :11

j

II

j

II

(

---(:;i pt ~ -,}

) 2

1

III pos.

,~tte

111

J

J(~\j J ]

J(~J .....2

V pos.

)

2

1

V

J 1J

1

ElJ JJf'~ ltD) III pos.

113

$e

V pos.

r-,

j JJJbj 2

1

V pos.

1

III pos

1

1

III pos.

1

V

VII pos.

VII pos.

J.)~l~"~3

I

1

2

III pos.

~ ~M

v@vPo. d JryJ 1

D

I pos.

2

V pos,

2

2

I pos,

J-l2

:11

III pos.

~-(~

String

1 2 I pos .

III pos.

----

V~----------------~

III pos .

V pos .

IFF E r~)~ i(!;] 1 2 III pos

3 :11

I pos.

V_ _

2

.2 1 III pos.

1

III pos,

V pos.

IF V pos.

E

II

VII pos

VII pos.

V pos.

II

1 III pos.

* As

taught by the eminent Dutch violinist and gl"'aduate of the Royal Consel'"vatol'"ium in Amstel'"dam, Holland, Professol'" K. Bel'"; ng .

44 of 56

A String

III pos.

III pos.

120

V po s.

I pos.

III pos.

I pos.

~e

?lI III pos.

>+

1 21

III pos.

V pos.

~

V pos.

tf7 ~ r?~}r) r r~(h 6 E E t; !== Itt 2

~ff;h' L

v

VII pos.

III pos.

V

2

1!:-

1

v pos.

.fL

t

~

pos .

1

F" ( )

VII pos.

III pos.

I pos.

l f F' (~E F :11 2

V pos.

2

r

II

III pos .

E String

122

~

~##lI(1

III pos.

~

123

V

r r rcJr)i rl§)f f tit f f-(.Ii t Q<~ r r r 'II E 2

~1

v

1

pos.

III pos.

'~!I rEF f - f fEr IrE

III pos.

2

125 ,

#JIt(~

V pos.

V pos.

t

V pos .

I pos .

f'< fpc)) r r 'II r III pos.

v pos.

VII po s.

2

V

VII pos.

II

I pos.

II III pos.

I pos.

1

f cAlf fPf f f f If t t p-(t>f III pos.

II

~t:~~~

jr)l

III pos.

1

V pos.

f,
II

III pos.

45 of 56

Etude Harmonique (3rd,5th and 7th Positions) De BERIOT Also pr-actice (1) slur-r-ing each four- tones, and (2) slur-r-ing each eight tones. Pr-epar-e

126

,U#ll [

r"1

~

V

~ II: ~ r[rrfEr rrEftftr I, rr rsUrf[ rr Errr I III pos.

(3)

,Un "OJ r[ [ ~ gE CJ

rr Er IFFf F rrr r J.J OJ J~Jj 3 I

,ut j JJ J j JJa J.J j J r r r i IrE Gf '~E rf rEf f rrr E

@

'4'

.#;3) @r![i\fr \ff eflrr H n Ierl[J\t/Pf#ffff f~fE C q~

(15)

,Un

IE

rEr LEEr cr rr f r E;

I~Hlr;

b

t t c;

f:

t

46 of 56

(29)

'tin

b bG GFUR r c~

n Jj I j JJ ; J j JJ j.J j ~ I' ~ ~ r I

(33)

,tin 6 di eH; E[w- n J j I j J J ] JH J j.J jJ r rr FI III •

~

E

CUrCH rfHtrfsftcl

(3.).

"

~

J J~ ~

feria

:11

Remain in the third position, merely stretching the fir'st finger backward .

47 of 56

Shifting Etude (Through Seven Positions) SITT

rrrwrfrfr

(,)

''"-E IrrrFf rUr r rill Ifrtf(\r[ff ttr I

Also practice slowly, using a separate bow for each tone .

4#j r ti

127

I pos.

~

,

V pos .

III pos.

VII pos.

(')~

4~~ zffrtffff[tf I Fe FrFHff~ I«frfter r5~ ~ I 2

V pos.

IV pos .

II pos.

rt rcerr F FJJ JaIiff] JJ30qW I e·cFrF[r r~ r r (7)

1 4

(8)

E

E

Ipos .

,#JI

EcEF

rE"~ r r

IIlpos

ra frtf(\fffffUf fftrEtfFfftr (11)~

I

VII pos.

(13)

[or f "[FtHt IUf=rft t _ IV pos .

--r

2

I

V pos .

#

(17)

0

I

V pos.

;"~:ffi rc rr RV I

II pos .

~

@

I pos .

i

1

,~ j JJJ 3J J J 33JJ IJUd 1 JJJ J r ['11 EEL! Err Fer CFI III pos.

(21) . _ _- - - _

fI' ("e c"c rrcHErrin IttfflifHHrr I Hfftfff HU I V pos. VII pos .

~ti~

t

(2:;);;:; 0

~

(27)

0 4

JJJ ~ r rR[ FC F r. Fib;, u r ErE r Fr r I, ErJ, r a: ~ r ~ rEI III pos .

I pos.

III pos .

48 of 56

(29)

IJI r2Hsr H nlfr IfEtffrfttfffltfftf-ffffffJI I pos.

III pes.

____

V pes.

__________ (35)

0

1

Jfl JjJJtCDrrrcf I&EtJHrEcrFrlrtcrrrrrtrftl III pos.

I pes.

III pes.

I pes.

~0

III pes.

~~

,. fur (rEfUfE Ififf fUrriEr ItEff (EffftE f I v pes.

VII pes.

V pes.

, rift rrrFi2z: <;'3 Jj j JJ J j dJj JIill J bE r rbrF rI ~ ~ 1:. III pes.

0 I pes.

Iii

I

III pes.

1ft rsfirr ran lifE EF HE[{ftr Irrtf rut Eft f I ~ (43)

1

•

•

•

(i5)

1

III pes.

IV pes.

(47)

f#

E E~ frfttifr ft IttffrtffftFr lUre [U Be[ r I 1

Vpes.

0

3

1

VI pes.

4

III pes.

II pes.

~~

~O

2

IJ# f@urrFilt l[rrrsutU:frIEteffHftrfrl III pes.

I pes. ~--__

.

~

1

V pes.

(63) _ - -_ _ 2


tffEftrttftrlttff fEffEter IfIu r tr r @? I VII pes.

&~M

V pes.

III pes

.

I pos.

~

'i'

Wr JJJj 3D) 1;141 JJ 9! 00 I ffffiCCTt

(55)

II

DOS.

~

49 of 56

:11

Schradieck Exercises for Shifting the Position (Second through the Ninth Position)

SHIFTING ON THE "E" STRING The following exercises also should be practiced in a descending manner, i. the II position.

V~

r"1

.28

$~i E11iIfh ,rEt

e.,

(2)1~

from the IX position back to

1~

fEr r It Eft tift ffFf tEff I

($#,) f;rrtEff~tHf[ 'P F(')'T '11r Iffffziftrf&fz ftllf VI pos.

VII pos.

VIII pos.

SHIFTING ON

$1

THE "A" STRING

en FrfEr Ell F rift IE FF rrFr r ErE r tE E I (2)~

V

r"1

129

~

F

II pas.

III pas.

IV pas.

V pas.

(4)

1~

_____

1.~1--:::l:.f:.~~

, 'fIEtth rrtt fUr Itffrffft Utf EEftl1 f (3)

VI pas.

VII pos.

VIII pas.

SHIFTING ON r"1

130$~! (3)

$~

V

_

1

-

_ II

IX pas.

THE "0" STRING (2) 1

JiE2:flJ £B~J I a1 r eEl? rEI F eID I 9

1

II pas.

1

III pas.

IV pas.

V pas.

mr rmrrrrrwlcrcrHrdrurqqr (4)~

VI pas.

VII pas.

VIII pas.

SHIFTING ON

t 131

II

IX pos.

I

@b?j

~

~

THE "G" STRING

Y

(2) 1

1

Jaw j J JJ J 1J J J J j J j I JJJ J J J J J @ J J § ~

II pas.

(3) 1

~

~

III pas.

1

(4) t

1

----------

IV pos.

VII pas.

VIII pas.

I

V pas.

1

,~ 42JJ£JDtUJ~rolr-ijFrE?lrF£rF@:llr VI pas.

II

IX pas.

IX pas.

50 of 56

- II

Arpeggi Through Higher Positions· HERMANN

(A)

132

"a

()

133

#;

IT

-

v pos.

1 ~~fE Ef

~.

'* J~iP rf br f ~ 1

1

I

VIII pos, XII pos,

1b~~

(8)

t :11:

4

•

$ ~ !: E ~ - - :I Jn .~ ~

!!

V pos ,

* :11

VIII pos, XII pos,

4

(A)

140

tI

I

:11

'" A..-peggi finge..-ings a..-e optional . Teache..-s should substitute thei..- own finge..-ings when they a..-e bette..- suited fol"

51 of 56

Allegro de Concert DUET HENNING

IFirst Violin

V

r1

(Second Violi n

141

I

... 1

.fl-

2

(3)

I

V

r1

(5) fl

I

~

•

2

1

;. e: ! ~b..

( 7)

4,

2

1

0

~

rl

(7)

(5) L

-

4,

.......

U

0

4,

4,

f~'"

-J.

4J.

(11)

(9)

(11) (9)

4

o

(15)

(13)

(17) 1

L /

\

~

(19) 1

~ ~ ~ ~ b~ ~ .fl- ~ .fl-

~~~

~~

~~~I}~~. -

f!)

(17)

"l

(19)

I

~

52 of 56

•

2

(23)

4

,

L

,

)

.fl-

•

4

(31)

.,.1

2 •

_.~.fI-~-fL~

_

....

1

.~~.1

~

4'

II L(29)

"

(31)

(33) ,

)

.,

-

~

2

I

•

_

.-

-

•o

•o

o

(35)

_. ~ .,. f:-.fI-...

1

• -f-

~

#-. 1

•

~

'

I

(35)

1(33)

\

t..

,

(Zi?) 1

I

2

.-

-

1

(39)

I. (37)

\ t.

"jI

•

iI

0

1

:-.

~

)

.,

o

( 3 9)

-

•

.,

-

~ -fit ~ ~

F ;';)

• 53 of 56

..

Etude Britlante (Through Higher Positions)

De BERWT

Also practice (1) slurring each three tones, (2) slurring each six tones, and (3) slurring each complete measure,

142 $1\

tH

i ~t~ ill) Je: urEtErf Irrfff· tEr [E r 11Jsct;fftftt I ?t

a

.!!,

rvpos,

1

1 2

Vllpos,

(a)

•

!Vpos,

,

0

3

Vpos,

1

VIII pos,

I pos, ~

~

1

1

(5)

1

~ ~t:

!:

2

pEt Eft(er fEr I) 30 drffF frf I tEtfEr tEl [E! Vpas,

IVpos,

3

Vllpos,

IVpos, ~

Ipos,

(7)

1

E ~E

£

I

1

(9)

1

~ ~~

$ jj J rEf rEEfEr IfEr 5ft ftc f[r IJj J rtf (EEnE I Ip,lIlpos,

Vlpos,

IXpos,

Vlpos,

Ip,lIlpos,

Vlpos,

IXpos,

'4

r=

#i

(11)

1

i ~~

E#

2

, frf rtf f fir (E; 1j;jg c:#Ct ( frEfr If fr5Er (vr VII pos,

V pos,

I p, III pos,

VI pos,

IX pos,

roo

VI pos,

(15)

(13)

o II I p,Vpos,

1

IIlpos,

1

IIlp,Vpos,

VIII pos,

Ipos,

~

2

(17)

b~

1

, tff fft frr (j;ttJ J~dJ btff ffr I itbifrr f ~ r EfYl Vpos,

0

~

III

pos,

Vlpos,

IIlpos,

I pos,

i f ttft! f r,. Cry I jJ J to rtfrft I , 3d JiN t flEEI b b

(19)

. bIpos,

IV

1

VII pos.

pos,

b

1

(21)

IVpos,

~

0

VI pos,

i ' !l±Cit ErE EEl EEfEr; LEt DE; I

(23)

4- ifriu C£:r=dJ] I-r III pos .

1

1

IV pos.

a

VII pos ,

1

~

Ilipos,

1

2

4

IVpos.

54 of 56

(27) 2

1

1

IVpos.

1

IVpos.

VII pos.

VII pos. Ipos.

'4

(29) 0

1

0

IIlp.Vpas.

IVpas.

4

0

0

I pas.

III pas.

I pas.

(35) 2

0

1

2

1

VIII pas.

0

1

XI pas.

VI pas.

'4

Ipas.

I pas.

IX pas.

III pas.

'4 (37) 2

3

IVpas.

1

VII pas.

VII pas.

X pos.

VII pos. 4

Ipas.

(401)

o

o

1

0

Vlpos. I

p~.

,~~

I

p~~ ,

IV pas.

VII pas.

V pas.

IX pas. XIII pas.

(.~;p=.

,(")~j J EtJ fN tEf If tEe ff~frt r Ipas.

VI pos

VII pos.

IXpos.

III pas.

rim

I pos.

1

~

rff~!Er I

0r

IV pas.

VII pas.

55 of 56

Etude d' Arti ste (Solo for the E String) CAMPAGNOLI

56 of 56