franz simandl - new method for string bass, book 1
TRANSCRIPT
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NEW METHODF O R S T R I N G B A S S
Newly revísed and editedby STUARTSANKEY
P A R T l
No. 3020
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í INTERNATIONAL MUSIC COMPANYl 5 1 1 FIFTH AVENUE NEW YORK CITY
Xx
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxPrinled in U S.A.
,: ,•a"2;'*a!"i!:*'isMa;*sa'Ss;"5 *2£'*5!?'ií"Jíí"2i"aí"2£'*i£"ai4sK<*aí*íK<* "2;wK*'i'«!C«»S:«5!it!&«5:«i5!:»»JC*K««K«<KMSI«»!C«5:«3r»»K««3!«t5:«»S;«»Ki«!S:««!C»5!w5!«i5J,M
Franz SimandPs New Method for the String Bass was first published in 1881 and hás been used throughout theworld probably by more students of the instrument than any other method. The excellent quality of teaching materialin this book hás helped to develop countless numbers of fine Bass players. Certainly no greater tribute than this couldbe offered in praise of this work.
The progress of Bass playing in the eighty years since the first publication of this method made certain revisionsand additions necessary.
Hence, is the present New Edition which contains the following importam features :
1. A SIMPLIFIED SYSTEM OF NUMBERING THE POSITIONS.
The original edition of this method, as almcst ali other methods, dcsignates a position as an intermediate oneif the 4th finger on the G String falis on a note which is a chrcmatic step in C major. This was an unnecessary com-plication.
The conventional name of the lowest of the positions, the so-called Half Position, hás, however, been retained topreclude the confusion that might have resulted from too drastic revision of a widely accepted practice. I have observedthat almost invariably a student forgets the numerical designation ofmost of the individual positions within a short timeafter completing Book I ; this is of slight consequence, providing that a complete knowledge of the notes contained ineach position is retained. However, Half Position and First Position, being the most frequently used, are the two posi-tions in which almost ali players associate the actual notes with the numerical designation of the position. For thisreason, I have decided not to rename Half Position as First Position, which also would have necessitated changing FirstPosition to Second Position. By accepting the convention of Half Position, the numbering of the first three positionsremains unchanged.
2. FINGERING OF THE EXERCISES.
Here the purpose was to eliminate unnecessary shift ing and to make the student aware of the many possiblechoices available to him.
The fingsrings which are to be found in this book are offered as recommendations and may be freely altered bythe teacher. The fingering of só many passages which the player will come across can be handled in more ways than one,and the student is urged to become thoroughly familiar with the various possibilities available to him. With a completeknowledge and command of ali the positions, he will be equipped to decide which manner of fingering is best for him.This edition hás attempted to enhance the studenfs awareness of the choices which are at his disposal in many instances.Often alternate fingerings have accompanied the exercises ; there are times when quite similar passages are presented withdifferen: suggestions on fingering;and inPar t l I I two methods ofdealing with sequencesof th i rdsand sixths arealternated.
3. NEW EXERCISES.
Throughout the book new exercises have been added ; especially in the beginning and in Part IV (Bowings),which hás been expanded by the addition of further examples and short eludes.
4. CONCISE PRESENTATION OF BOWING TECHNIQUES,ORNAMENTS AND ORCHESTRAL EFFECTS.
In Part V exercises pertaining to spiccato, portato. jelé ; also Irill, mordem, turn as well as tremolo, pizzicato, collegno and ponticello are brought together.
This is followed by an APPENDIX which oflers a brief outline of such optional fingering techniques asextension positions and the employment of the third finger and the thumb in lower positions.
The revisions and additions that I have incorporated into this Method are offered with the sincere hope that theywill help the student to achieve mastery of the String Bass and that they will be instrumental in continuing and expandingthe usefulness of Professor SimandTs Method.
STUART SANKEY
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Preface 3
Illustrations 4
Explanations of Symbols 5
PART I. THE POSITIOXS 6
Exercises on the Open string.s — The Half-Position and theOther Eleven Positions — The Major Scales
PART II. MINOR SCALES AND EXERCISES 46
Introduction of Legato Bo\ving
PART III. INTERVALS AND EXERCISES 54
Thirds — Fourths — Fifths — Sixths — Sevenths — OctavesChromatic Scales — Exercise on the E String — Shifting Exer-cises — Exercise in ali of the Major and Minor Keys
PART IV. VARIOUS EXAMPLES ANDCOMBINATIONS OF BOWING 73
PART Y. SUPPLEMENTARY BOWING TECHNIQUES.ORNAMENTS, AND ORCHESTRAL EFFECTS 84
Spiccato — Ricochet — Portato — Grace Notes — TheMordem — The Turn — The Trill — Tremolo — Pizzicato —Gol Legno — Ponticello — GlissandoExercise in Yarious Bouing Techniques — Legato Exerciseson T\vò Strings — Exercise in Broken Chords
APPENDIX I. OPTIONAL FINGERING TECHNIQUES . . . . 103
The Extended Position — The Third Finger — Bridging —The Fourth Finger in the Higher Positions — The Thumb —Retaining the Fingers in Place — Combining these Techniques
APPENDIX II. ORCHESTRAL EXCERPTS 114
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1-3. Position of the right hand, German Bow. 2. Down-bow. 3. Up-bow. 4. Position of the right hand.French Bow. 5-6. Position of the left hand, Eighth Position. 1. Position of the left hand, Ninth Position.8." Bridging" with the fourth finger, First Position (see Appendix I.) 9-10. Position of the left hand, FirstPosition. Notice that the distance between the second and fourth íingers is no larger than that between the firstand second ; that the thumb is píaced along the left side of the back of the neck of the instrument;and that thethumb is opposite the second finger. 11. Position of the player in performance. Notice that the weight of theplayer is equally distributed on both feet : that the elbow of the letl arm is held in a relaxed manner, lowerthan the shoulder ; and that the bow is held parallel to the bridge with the stick turned slightly towards thefingerboard.
. ,._
(Posed by Gary Karr)
SYMBOLS USED IN THIS VOLUME
PI Down Bow V Up Bow
Notes included under a bracket i—
h. P. — Half Position.
I — First Position
II — Second Position
III — Third Position
IV — Fourth Position
V — Fifth Position
G 1 to be played on the G string
D 1 to be played on the D string
l are to be played in the same position.
VI — Sixth Position
VII — Seventh Position
VIII — Eighth Position
IX — Ninth Position
X — Tenth Position
XI — Eleventh Positicn
A 1 to be played on the A string
E 1 to be played on the E string
O — open string l — first finger 2 — second finger 3 — third finger 4 — fourth finger
Ol — as a harmonic with the first finger
O
O2 — as a harmonic with the second finger
3 — as a harmonic with the third finger.
PART I.
THE POSITIONS.
Exercises on the Open Strings.
Use the rests between notes to change the position of the wrist and hand from down-bow position to up-bowposition and vice versa ; also be sure that pressure is maintained by the bow upon the string during the rest.
D String- A String-n
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On the G and D String-
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On the A and E String-
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On the various String-s
4. -O- -O- -O-
-o-
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Exercises on the Four Strings in Various Rhythms.
1.Í Ê í
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In the following exercise, use a smaller portion of the bow on the quarter notes than on the half notes.
n y n v n v n V n V
Í=P fupper halfof the líow
n V n V n y
lowerhalf ofthe Bow
lTT~
n
r r r ! T rlowerhalf
upperhalf
Start this exercise in the upper half of the bow : again, use less bow on quarters than halves.
n V n V n V n3. r
fí 1 1 fi
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r r ^ T r í? m$
f -i r r -i r i i r ' r ' -' r * ' j
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The Half Position.
G string
a2 , 4
or:
J* «» ti
or:4 o l , 2 , 4
-O- -o-
O ti sharp A A sharp A flat A B flat D D sharp E E sharp D E flat F flat F
C0 1
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K Esharp Fsham F í°uble E* sharpA A sharp B li sharp A Hfc C flat C
Exercíses on the Various Strings.
11 is suggested that the exercíses on this and the following two pages be playedat first pizzicato —that is to say, plucking the string and not using the bow.
On the G String-
F G flat G
h. P.í V B1 '•)• 14 VI
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On the D String-h.R
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On the G and D String-i (í D
í rn- lD
1 0 4 1 0 4 4 1 0 0
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While playing open strings, keep the hand close to the string, ready to play the next note.
2."ST:•/ (/ j
P — HS 1 P — nl9 1
P 1 11 ** 1T 1
1 re 1
s rtt"hl
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0 1 O 0 4 2 4 0 2 0 1 0f" Do not raise the hand from the G stringL While playing the open D string
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:Do not raise the fourth fingerFrom the D strin°; rturing these 4 measures
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On the A String-h. P.
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On the G, D and A String-s
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On the E String-h. P.
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Exercises for Consolidating the Strength of the Fingers.Practice No. l until it can be repeated indefinitely without tiring the fingers ; then proceed to do likewise withNo. 2, then No. 3, and finally No. 4. Depending on the initial strength of the left hand, this maytakeseveraldays or even weeks to achieve ; the student should proceed with the lessons in the book, returningto thlsexerciseeach day. In order to obtain maximum benefit, press the fingers of the left hand as firmly as possible, and stopto rest when the fingers become tired.
1 . . . 2 . 3 . 4 .
P *P * ii . . i , ^ u i l lr r r r r r i r r r r :iNJ J J jExercises for the Connection of the Four Strings.
D A E
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3020
* ít frequently happens that after ending a phrase down-bow it is necessary to begin the next phrase also on thedown-bow, although there is no rest in which to retake the bow. In such cases a short pause in the sound willoccur during which the player must take the bow back to the frog, but inasmuch as it is at the end of a phrase,the slicht break will not matter.
12The First Position (I)
In moving one-half tone higher from the Half Position, the hand is placed in the First Position, which containsthe following intervals : —
On the G String- On the D String-
a or:i,
fc}«yf
Í P— P* L
P p kp_1_1 1
b-p- 1 2 4 1 21 H p frp fé IHS q- s—
"I I I I I1 ' '
A A sharp B A B flat C flat K E sharp F sharp F flat F
On the A String- On the E String-C , or: . d or:
1 2 . 4 !, 2 4 1 2 4 1 2^ v
•-£— — 6 —— té—i 1 i-jw lnJ h f j fc-^ H 1 1 \ 1 —-»P h=r1 — ~r4^ — H d~
P ^ ' 1 " JM © fr& 9-G> && —B B sharp C sharp C flui C I) flat K sharp < ; G sharp G flat G
Exercises on the Separate Strings.On the G String-
6 L ft j?^2 6 .tis t] f? . o kf J^2 ^ ^p Q .P f? ^T»<»). /•»y Ly H
1 — r " r~i i i1 4 2 1 2 4
On the D String-
/ a 1 • '<->:/^[y l y n9 tfr3— !—— ti" — ii9-^^-4 '2 1 2 4
On the A String-9 I
*/•(' , pç —-- J ^==j£:" © f-fre — ••JJ-
_ _ u ._,
1 . 1 1 1 '1 4 2 1 4 1 2 4
1 J. í. l— p — 9-6- *fp — &p \P~ — trp — P —— " -H- —
2 1 2 4 2 1 4 2
1 1 1 1 1 \~ 1 1 1 1 1 ir TJ JT c nr jj T~J — jjT —"S" «r^ p^— H— 1 R 6~o VT&
4
11
G flat
41~t7i — 4
A flat
T O nHn
i
« fl(ji
_S_Z 1|
2 4
On the E String-h l
Z 4 l 4
^A-y c* —1
4
T —
1 4— 1 — \Ttf «J ^ f—
-t» '~j —
1 — S-6Íi —
1 ^S1
., 1
4 W
~^~
v,1 lj~
4
1 R- ,
Exercises for the Connection of the Four StringsD A E A . D
4 t! l O 4 2 l 0
+_. i_±_. ... .' ,pt>p.. p gp r> i -FttJ P =p=^g- — -^^r r g j g >-
1 0 4 2 l 2 4 0 1 2
M=f4 O 1 2 4 0 1
G Major ScaleI
i»Y }}./ ,-, o —
0 1
_ „ e u
2 0 1 * °
SJ e r, -f: \ 4 1 0 5i e r, — [
l*-\I B /•> — i2. y ff (/ !
2 1 0
r — i0
—p ^ —I-F— H
4 0 2 0 2 0
õ 1
4
r — ii
i~ io o
r 1
! 2 - *
O 4 'l l 'o * o 'o
O l 2
fe Í
13
j J u J J ra o i o 2
ÊPTT r r i r r irg r r rn f r r n r r
J J J Ê, , 1n j J J5. p
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J Jr r ir r ir É?
n mV n v n
mIn the following exercise, while playing each note, place the finger which is to play the following note in position toplay that note. Whenever possible this procedure should be used, for example, in measures 11 and 12 of exerciseNo. 3 above. Also, while playing open strings, have the fingers ready to play the next note. Practice this exercisevery slowly at first.
*J ir T u *[' i<J j I T T ir r
j r " " r3020
14Exercises in the Half Position and in the First Position.
I , h.P. I h.P. I h.P.
-U-I — 1_4 4 2 1 0
*4
J
2
íH^=p1 0
Y r
4 4^
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2 1 0 4
-}-TÍ-1 — s — pó i
4 2
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1 0
h.P. I h.P. I h.P.m0 1 l 4 0 1 1 2 4 0 1 1 2
n. r. 1 i<.v .. — 1J r ,] — s-— 17-, G- — J j
— f ~~P — r•j —e — - J f3 •* —
•J n
4 0 1 4 0 1 0 4 1 0 4 1 0 4 1 0 4
~j
h9—!T1 0 4
h.P.TT~1-^
J. jg-^
1- P — 1Rfi4J- n~~T|P 1 P 1e — iPF=1H —P — 1—r p —
t-
-
— (r
-n 1 'T —h
-f? iin9 —p — i
1 0 4 1 0 ° 4 1 0 1 4 0 ^ 0 1 4 0 1 0 4 1 0
4 1 0 4 1 0 4 1 0 4 1 0 4 1 0 4 2 0 3 2
h.P. I h.P.
3. IV. „ 1
ç1f r-
i
P ?1
y -HHTIs — FHh— p-9 fll4e —
1p —
1 1 't. f r
- ' '
\'•> r -
1 1 '4 0 2 4 0 1 1 4 0 4 4 2 1 0 4
h.R I h.R I
0 2 4 0
h.P.-Ç-p —ir^ — i./ h= M
rj ti'
n — i e — U-P — 1rti — b"Pi — H^ 1 h 1
1
1 — i
P ') -f, • 'r. _e —rjíf P — ! p c 3 P g
-1l5 1Me:
1 4 0 1 O 4 4 2 1 0 4
h.P. I
4 0 1 4 0
h.P. Ijtp i P l|Ê
0 1 1 2 4 1 0 4
Lh'R iP "f3 o b-*4; — p — —./ 1 1
. I h.P. I h - R , . I h.P.Q ,, hr, • i i iJ f í , O f3 i O 9(3 i ,i li, t ,2 J
~^-~
J pí — rffpíi r f— — —i — -\\ -- > —-^ —4 4 l 0 4
l O l
h.R
^
1 2 4
• I h.P.•j uri
0 1 4 l 0 4 4. .,
1 0 4 0 1 1 4 0 1 2 0 4 4
h.R I
1° h' l J J l
1 0 4 2 1 2
h.P.
1 1 4 0 4 1 0 4 1 0 l4 0 4
3020
15
h.P.z^
TT- TV
-**-
h.P.
m41 1 1 •*»- O l 2 O l l
O
331
-**-O T1., 4 1 4
m0 2
h.P. íiíi ~ 0 1 S
h.P.
P w%2 l a 4 0 1 2 O 4
On the G string"
The Second Position (M)The hand is placed in the Second Position if it is moved one-half tonehigher than the First Position. It embraces the following intervals : —
On the D string-or: „ , 6 or:
<•)• T f T T T T l T tf írp n9 "f ntq:15 flat C flat C A sharp li B sharp F G flat (i K .shar.n F sharp Fdouble* ' shar]i
On the A string- On the E strin§:C ., 4 or: ., 4 d or:
1 ~, , l * * 1 2 4 . 1 2 ' ,W 1* 1 1 i 1 f H/• b n n rd j jj-,X '. " y 4 W « rí U r. K r. . . L
1 ,1
C D flat D B sharp C sharp C doublesharp G A flat A
On the G string-
* -if-i
Exercises on the Separate Strings.
sliar])
4 4 l
On the D string"/
-*•)•• /* «>s \ fíp X i9 ~jfp "3 1~fõ 1ffl
0 1r3 — f iV „ 1r —
rMfl'3 — i— r» n
On the A string-
3H -J1 4 r~* — 14 1 — th TTTt^ 1 Í'-1 1° rio 1 - 5) — w — «> |
On the E strine-h II
-*4v-p — i
— -^=a1 — Ji 1 —— sJ 'w^f= i =J-^T:
l— J —^9frS
|
h H » 1 1 «_* U
16
Exercises in the Second Positionon ali the Strings.
r,, f í3 iT V f>V o l-U l 4•t* l l | l f II p [P l» P | f J <Íp P l11
4 2 i 42 1 4 2 l * 2 1 2 4 l
1 4 4 2 4 4 l 4 2 1 4 2 4 4 1 4 4 2 4 4 1 4 2 1 4 2 4 4
3. ?R i 1.1u rr'! r11-1J r1 4 2 4 4 1 4 1 4 1 1 1 4 a ! 4 1 4 2 1 2 4 1
4. /'* (*
Exercises in the First and Second Positions.C Major scale .
I Position
fe)ty i*o
-. ^>: rt1 y C
i
'* f "'
0
I— n
— n —
1
p
o 1 '
0-
2
=p—H
p — i
e
Q
n-1H*
•
i-r
— t-
II
— <*
• A.-4-. — it — j
I fl— .. -& o Q „ T:
»-i «j __ ^_
0 a i o 2 ||
i f r f " *"r j l P — f ir í. .-iri r r I.T r f^i' 1 M 1 1
f l m f m1 — i — , —O 4 4
=F=
_^ — , — M — , — , ' ' -t ,t i
i P v i r p r f i f f — M — 511 1 r_ HJ1
1 2 4 4 1 ^
4 4 1 0 1 Q 1 2 4 4 1 0
:c?F=_x4 4 1
II
i f l
4
s1 F=R
•_. ^
Exercises in Shifting.Practice these exercises carefully following the indicated fingerings, which admittedly are not the most efficient ones,but are designed to .give the student practice in accurate shifting.
17
1.I
- 'p. t p
1
11o pp' —
T \ — r1 —
I, 0 .
Ji.Re —
9 —
1 i
iin — (^ — rr-^
G
h. R
L-W fni ' •'P— i h. R
-•
.I
1 h-p n h.R I II h.P.
É È rJ P
^2 4 4 1 l 2 1 4 2 1 2
II
â=g
l 4
I h. R
1 4
II II 11-64í j
4
1 1=4=1 1 4
' — o2=^=4
/^
1
~kõ —2
p
1
'•!•
4
p hrj
4 2
r i — 14
í
1
T ri * ii '» — «* — i— - — Hi
Exercises in Various Rhythms.II
1.2 l
n
l 4
* r ç r i r r r r , j £i*—i*SIí
4 4 l 0 1 2 4 4 1 o
n
2 l
IIn
íI II
^•-t +-+-*
£í*£ r - i r I T L T* 4 1 4 o l l
^1n v
2.
ln v
4 2 4 4 2 0 4 l 2 l 2 O
h.R
n v "T- U
4 2
11f > > . • .r i r r r r f j • ,-r igSS4 4 4 1 0 2 1 0 4 0 Q
^
J
18
3.
3020 A-Play in the upper half ot the bow. B-Play in the lower half of the bow.
19
The Third Position (III)
On the G String-or:
>f p flp jtf- „ l' r T r p iOn the D String-
b or:
C flat C Df la t B B sharp C sharp G flat G A flat Fsharp F double G shan)sharp ' *
On the A String: On the E String:or: or:
í 2í, V í- b
4 1
*7] r-—J* — -3 K 9 'H tf^
2 4
»t=ST; fr s1 2 4
\TT TÍT" 9-6
1 2 4
1 jj_X O éT-
1 ^
D flat I) E flat
On the G String-
* IUIW -&•
C sharp C double D sharpsharp
A flat A B flat G sharpsharp
A sharp
Exercises on the Separate Strings.
e-<»): /. 1 t_: 1~^ 1
4 2
On the D String-/ m L
4); t^0 H kfcjy (* f r —
i
Q r> 1
-\
rfr^5> .-to 1
n •••-
f4f — »<9 — 1
^j 1: —
*£44J-e P 1
•ff- —
rkr~#p — i— <t-í —
— ~ fi
u 1l
On the A String-g El
«•):/. p-^ x / ro
On theh Hl
^=R=~-^ ^ r; —
rp
4
E
4—-tKJ
"^j
~4-o
String-
w
— *v—— F* — t-« — ii-.-—-F — %** — ii i
r;^-tHi<
fao— =1 -ff?" ?5
:ÍP2 pl
r.1
1— !U»
1
UHÍr ^H— Kz
r
—1 — -
F^ — *W—fr^
djz .....
-?rr -ífnjt&í p-p.i
Vr,4^^— Í7
~frõ, i)J
..l 2
Exercises in the Third Positionon ali the Strings.
Cii~íT 1r -An ft9 ! 1~f-h_i —— t — '±
r. Z li •>
<*\ ' ^p u
L r — '-n- y-
h^>—. — i — •
i \>H
^ —9 1
"<rv . . l i f H.,, i i "T i» ^ f L- i "T l._ T i v ú* f i f2" l._ bp l "T2. : > ( * ' i>p f pp \\f P 1 1 p r T i ' T ' l [ *r r l r rr^4 1 2 4 2 4 2 2 4 4 2 4 2 2 l 3 4 4 2 22 4 2 4
2 4 4
3020
20Exercises in the Third Positionin connection with the previous positions.
4 2 j l
D flat Major ScaleIII IIl 4
a 4 l 4 1 4
4 4 1 2 4 4 1 4 4
II III II
l 4 1 4 l 4 1 4 ^ 4 2 1 1 4 L' l 2 1
1 2 4 1 4 l o l 4 2 1 4 2 4 1 4 l
1 4 1 4 1 4 1 2 1 . 1 4 1 , 1 4 1
4 1 4 2 4 '4 l a '4 l 3 '4. l 2 4 2 lá
~£T — t"-AM* f1 .
t ^4j—; L
•—•_/•—!-P-
1
3 1 Hl•n ± 1
1p- e —rfn^ — . 1 4
2 4 1 4 1 4 S 4 ^ 4 4 4
1
1 4
- »—1
1 4
L J
1 2 4
— f-11 2 4
í
^ 1
|f P |-\
2 4r3 1
P—iet-*J »
^1 * 1 S 't 4 ^
1 4 2 4 1 1 4 1 2 1 4 \4 \ 'l 2 4 1 2 4 1 4 2 4 1 4 4 1
In keys of three or more flats or sharps, a choice of fingerings is frequently available. In this volume, the fingering whichwill necessitate the smaller amount of shifting hás been placed above the staff. If the D flat scale is begun with the firstfinger, it is not necessary to make a complete shift back to the II Position to play the F ; this notecan be played by pivotingthe hand on the thumb, which remains in the same place. The entire scale may be played without tnoving the thumb, bui
21
A
... j-
*
-*J:T£
1
.
nain
f C41
1
3P=r2
'<
=H/
...,
t
,-^4-
iVl<iJ
I
í —t
— 1
N1
— i
í
-r—
i>i t
4
O
h. P.
1
í
1
P — ~
4
tf
i
r — i4
,
•^— 1
j>
1
r
n
i4
1
4
d
1
1
1
»—
1
11*-
4
•1 |
f~
4
-"-
II1
— «
'|
*£
0_ 1Z.
0
P~~l
• —-
~tTi4
1
i
r
0
IIp"
4
-
-
*
4
--
4
—íh. P.
4 1
1 4
p
-í—
4
-jjjTf
1 4
1 •'*
I1
f
1
1— *
4
0
1
— r
I
4
0
p
—
4
^
"—j
—
1
4
I I I
-J—
i
r~
i
fií4
[II2
2
11
0»~
0
1
4
1
^•J—
«-,
i
Pr—4
4
-*—
(?
4
— P
1
2
0
II
2
V-k
'11
o
4
•—
1
w~'
=í
4-
,-0
I
Fji i
K
I
1
1
1
11
i
rj-
-
M
I4a•*•1
9
1
2
[
>—
I
•
1
1
i^_
1
r^
4
II4
— 2 —
4
2
V
4
rr
h
1 r
I
2
0
*
II1
";
.P.
1
4
I I
• — 1
1 S
4
1
-^—
^
-p-
Ii
4
"p—
1
II, — t
:
2
0
1
f-
11í
1 —
1f—
4
>H
=
4
4
'
*~f^~
]
2f.
0
íl
•
1
1
'
-
f+-
12
l
r-
'
•
h
* í»-i
1 (
nH2
1
^
1
|
1
)
t
4
2.
4
•«.,
:i
-ÍL-j-
— p
4
4
— 0
1
nrr•^~
III
-o
h.l
p
4
-f-
ÉE
^-
1 n
n H> *
'III
2 4 4
p
i [ - -
1
10— • • , • *
o 4 2
1
=— \ 1
4
*~kp — 73-=—
l 4 4 l 4 1 2 4
^ i_ ~ ^.
^ l 4 2 4 4 4 0 l 4 j 4 l 1 1 2 4 1 2 4 0 1 4
4 1
CT í\ '— -t —
n p —
1
• m J
l= =L^zd4 4
— -
1
1 •
4 1
TFT1•i — '
— gM=! r^ — r'• i| -p L- • . 1
1 r T r iL_ |
1
• — -j —
2
ml 2 4 4 l 4 4 2 1 0 4
-^-4-i — l> —
• —— •
2
o
4
rn~~
i
• —
1
*-|
n
*-*1
»,4
1
2
Ffrl-"4^o
•-í-h•
— •bar/.M*-
1
LU 'L^_ir/M
t ri>
— i&-'— T|
U
In the above exercise, the student must be carefui to play the ninth measure and ali similar measures with short but smoothstrokes of the bow, especially on the eighth notes. However, in such measures as the second one, a fair portion of the bowmust be used on the third beat in order to retrieve the bow sufficiently to play the next measure. In this case, be especiallycarefui not to accentuate the third beat.
3020
J
22The Fourth Position (IV).
On the G String"or:
On the D String-
6 or:
v f bf *f' 1 ,12 *
*r ¥ T=»J 1 1
C D flat D B sharp C sharp ^rp1"
On the A String-C or:
1 2 4 1 2 4
^ J- Q l/ rj v V _i M ^ n r j \ f
D K flat F
On the G String-
e L I V ltf f T
_x «, j
i L 2 t,* i ,2 4 €•i » »P -^ ^ fa xf; ^
G A flat A FSh°Uble G sharp G doiib^sharp * sharp
On the E String- ^d or: «P
1 3 4 1 2 4. . , =f&^ f / ^=^ =* ™ W xc fc ::'<0
flat Cg double Dsharp ,. A Rflat B GS double A sharp Ado^
mExercises on the Separate Strings. ^
If^jlf- x*-!|}tf tf j}, jl-e- f jj.jU- f ^ f tp xf.h!jf-jU.f ^T i r — r r i r - — i — p^ — i i T — r r r » i *2 - 4 2 l
On the D String-/ IV
-*»
On the A String-IV
T r i T r i»rOn the E String-
h IV
^3z: ~rr-4 2 l
Exercises in the Fourth Positionon ali the Strings.
2 1 2 4 4 2 4 1 i 4 4 't 2 4 4 1
3020
23
Exercises in the Fourth Positiontogether with the preceding positions.
TV Inr r r f i f f r v III
Ê2 2 4 1 4
IV
2 1 4 2 4 1 1 4 2 1 2 1 2 1 2 1 4 2 1 2
" " i ' TR '
ÉÉii ££2.2 4 4 l 4 4 1 2 4 4
IV
I
-- — -f-l•r-l
1
•— '
o
IV
1
p—
4
,-
1
P •
2
=—p-1pV, f 1Jf^2
pntf-
4
,-,p-.Hnri
nH — p~~i —i*=W
— «—M=L
IV
^ í4 4 l 2 4 1 44 ^ 0
h. P.
ês£ Ê r r n r r r n r4 2 1 0 1 1 4 1 4 1 2 1 2 1 4 4 l
r i r r r r i r r r r i E h.p.m4 4 1 1 4 1 2 1 4 2 1 1 4 2 1
r n r r r r i r r r r i r r r j i r r j r i r r j j i r j j jD Major Scale
oO
**
-o--O-
IV III IVm .iHE
2 4 1 4 2 4 1 4 2 1 4 4 1 4 4 1 4 2 4 1 4
3íP
3020
2 4 1 4 2 4 1 4 1 4 2 1 4 1 4 4 1 4
* Here too, pivot the hand without moving the thumb. This is a very useful technique when movingfrom oneposition to an adjacent one, and is especially appropriate af this spot, as immediately after the half-shift to theIII Position a return is made to the IV Position; furthermore, a half shift to the next lower positionis slightly easier to do with accurate intonation than a similar type of shift to the next higher position.
24
6.
o l l 4 1 4 ! Q 4 1 * l 4 l
A Major Scale
^W — -õ--^ R Tf 0 "
—n « *-*—4 4 a
— ° r— f,
i e — r4 ;
J 0 n Q 41
h.R l o
i): fl jj —-^ — tt n 0— *»
4
__ „ o Li 0
õ 1 « * 1 a 1 , 1 ^ « o ^g' •'* 1 ^ ^
7.0 1 4 0 ' 1 4 1 1 4 2 4 4 1 2 1 4 4 4 1 0
'» ;; 4 l 4 l \* 4 -' l -' ' 1 1 ^ 1 2 4 1 4 1 4 4 1 4 1 2 4 2 1 4 o l
3020
The Fifth Position (V)25
On the G String- On the D String"
or:
\>à \Q v& |J.p. x -p- ff -P
D flat D E flat C sharp Csf,°"ple I> sharp
On the A String-c or:
1 2 4 1 2 4
i^Jir-T b?5 P to ãTõ ít?3i5tz sp w *£- *y
rf"A flat
On th<d
i
—W
L 2 trt i1 2 44
A B flat G shaiji shar * ^ sharp
; E String-or:
2 4 í '* 4
- 5» fa jjTr ^5) 1
E flat E F
On the G String-V l
I) sharp l)^le E sharp B flat B AsharpA douMu
Exercises on the Separate Strings.r *
- H — 1 —1
On the D
/ i»4 V/• /^y i ^ i
H 1 _l 1.J 4
String-
Tltf
^ X rw tf g.
H— -H H 1 -f— H
ít^. on ,i U ^ L „ b n t „rJ n l Bf1
•j X V f f ' l*-'
On the A String-9 V
fcK /* ^ P r> faz -«õ Jhí í-f^ P br) rn \rr> p fa*r r
4 »
4 2 'l ' ' ' ' '
On the E String-h V
j c r ' b c D c í i c í i ^ h c H c r ' t i4 2 4 1
Exercises in the Fifth Positionon ali the Strings.
- J (' ' ' 1 ' 1 1 l U |T ' 1 ' — ' — H — 1 — H — W — r4 2 4 2 4 t l 4 2 1 2 2 4 ^
-Ç-p — C T X'P' 1 x , j itt P | 1 i 'P' IP "P" i X"P" x n í Q i i
1 l? Ê , L i L iTP 1 k-P f" ^9 ^Lf2 ^9 ^I£» ^9 , ,
o -*•): ,i rn — -+ 1 ^ : : 9 j rr> 9—9*-• ^/- l^ 1 1 - - - bfi
j 4 4 i 4 2 4 1 4 1 1 4 4
^E=i^^- f ^ ¥ ^ t0 ^_TE^ ! rn i rn (9^^ • ' ' - • • - " * • - - r- - 1-; •*^^— — 1 1 1 1 1 Li fr-g 1
1 ~
, — J_
ko
4
— m 1_^ J
3020
26Exercises in the Fifth Positiontogether with the preceding Positions.
Alternate fingering which may be used in descending
4 2 4 l 4 2 4 2 4 l
4 0 1 1 4 4 1 0 4 0 1 1 4
2.
0 1 4 1 4 1 4 1 0 1 4 1 4h.í
IV V4 h.R
1 4 2 4 4 1 4 1 1 4
* v i v v ívR4 2 1 1 4 i: A ^ ^ 2
4 1 4 1 0 1 4 1 4 1 4 1 O4 4 1 4 1 1 4 2 4 4 1 4 l
4 4 l Q 4 0 1 1 4 4 1 0 /, 4h.R
4 4 2 4 1 1 4 4 4 1
l 4 1 4 1 4 1 4 2 4 4 l
4 1 . 2 4 1 2
r i r 'J i J ^ ri i L 4 i r
1 4 2 4 4 1 i
3020
27
II
Alternate fingerings for the B flat major scale.
IV3OC
V-e o -o-
h.p.3CE JDC
331 -O-
4 O
Another fingering which may be usedin descending:
-» f-o-
II III h. R
í
« »
4
—O —
— 1 — 4 —— O—
2— «J O
4 1
ápS ÊTr-rr r-rr i rcr irr4. iV r h.E
3dr?iM
4 1 1 2 4 4 1 4 1 2 4 4 1 4 4 4 l 4 4 1 1 4 4 1 4 2 1 1 4 1 2
V* t," 1U_|_j
vTfM l 1
*~P —i — 1 — 'TT-Tm — HP f r.
M—) '— 1 —
<y — '
r —— o —
4 1T"V m iv h.p.
1 1 1 4 1 2 2 1 1 4 1 2 4 ~ > 0 4 1 0 1 1 2 0 4 1 1 1 4
2 4 4 1 4 1 0
l 4 2 4 1 4 1 0 1 4 1 0 4 0 1 4 2 4 2 4 2 4
l 4 4 1 1 4 2 4 4 1 4 1 0 4 0 1 1 4 2 4 4 1 4 1 0
28
The Sixth Position (VI)
On the G String- On the D String-a
Z L4 ' l ,2 4
9= f T T f f T |^n E flat E I) D sharp D double
1 sharp
On the A Stringe or:
1 2 4 1 2 4
1* p P p '173 f P
1 L 2 L* 11 — P — T — Y P — IhA B flat B A A s
On the E String-d or:
- . 2 4 ,1 ira ré " ^ à k
l 4 V9 X-e
1 9
h-P ^f
0
E F G flat
On the G String-
VI
E E sharp F sharp B C D flat B B sharp C shar
Exercises on the Separate Strings.
£ f f ê ••£•On the D String
f VI
Ê É Q fre
On the A String9 VI
t): ;-;1r f9C
p ~fle fri
4
P pr '•i « Í
T
e-1 A
On the E String-íi VI
J J
1 2
r4 4
Exercises in the Sixth Position
on ali the Strings.
4 4 4 4
9 f
È
r i» r*r fed!l 4
r4 2 2 4 4 4 2 4 4 4
p
3020
Exercises in the Sixth Positiontogetner with the preceding positions.
29
VII
^TTT- 1 ^ * ^ * £ * * . _
0— _2 n
w~i
p—
2
•
0
=F=
1 2r — ' —
4 1
_j _
4
H M—1 4 4
*=£=.
1 4 1
•
0
9 f-f-
r-Jr-H__ —
rrrr-. VI , ,Hl -, -«• III
2.2 4 1 0 1 4 1 4 1 4 1 2 1 4 4 1 2 1 2
—f ' 1
4 1 L- 1
IVQ .
4
f3 I
1fift• i4 1 4
p-.
1
\
0
[I
9 —
1ífii
4 4
•-
1
»~|
0
9 —1p —rfí1
4
»-
1
r
0
t~
2
73 — õ —
;=t=
-*-»~r-r~ fj
^
•p~
4
P • »=M= '<
m m m m m
4 4 l O l
áâiè rffnr - i i r f r r i r r r f i r f r E1 4 1 0 l 4 4 1 4 1 0 1 '( 4 t 4 l
i£ —w f Pí_j — j —• — r-. t—m f — 1
| f — FF1» -— i — r 1 0 . , 1 . . ,
r r p r — 9 —P P J P "f- * p
1
J . . . — -
E Major Scale. ,L I
IV2 4
III IV4 l 2
B-O- -O^ »» «
33C-O-t 4 l J 1 ^ '' * * ' ^ l ~rr~
o i 4 ° h.Rh. R
h. R III IV-• *-•- ™ i IV
V III
iP^F^P Êiv TTi vi
1L*_»4.
VI
2 'j 2 l * l ~ * l * 4 2 i 4 i 4 2 4 2 4 l l 4 4 l 4 i 4 l 4 l
v vi IM rv '
4 4 1 2 4 1 4
V1 m '
4 4 1 2 4 4 l 'i l 4 l 4 i 2 'i 4 l l
l * 4 i4 4 1 4 4•l • P
4 4 4 1 2 4 2 4 ' 4 4 4 l l 4 l 4 4 l 4 l -' 'j 4 l 4 j 2 4 4 l 2 j 2
B Major Scale IV IVÍ3r3Hh- l
z±^rjt f í t>t
2
— n O —
4 ^
4 0 0 0 0 o „— f-J *i
_ Jj 0
SJ .J
•1 1-*
4
— n —
~
u
7^
1 4 l
or:
f jj O
1
IV2
i.» °
4 , !„
III4 1
— n ti —
1 a
* II'i 1 "
1 s ~h.R I
o
=3=
III
í 4^-' c >ij
h.R.
i— o —
r
IV4
-
2 I
«> *»
1 4O
1
30
5. 2 Ê2 4 1 4 l l , 2 4 l 2 4 4 1
h.R4
-o-h.R I
PPPP1h.I!
l 4
If*
l 4 'l 4 1 1 4 1 4 l
VI V
l 4
*. t. 4 A 4 /. -4 O /, O A 4 4 /. í» 7. •* A /.
2 l 1 4 1 4 1 4 1 2 4 2 4 4 1 4 2 4 l
-^4-H«. ,.-&••?•* m -f- m - n •&• VI _ ^ _ 1 1 ^ ^ „.-L 1P%dP — —— i —rr i —-1 — i ——o — 1
H — i— 1— Y- —1 —H 1_i 'i FH — FHy=M• hfí — V- — 1-=t=H — f>-*-) H > 1H *-
2 1 4 1 4 4 l 2 4 4 1 2 1 4 1 l
1 4 1 1 4 1 2 1 1 4 1 2 l 4
4 2 4 1 4 l * 1 2 1 * 1 4 4 1 . 4 4
4 1 4 2 1 2 1 4 ! l 4 1 4 2 4 1 4 1 2 1 4 1 2 1 4 l
1 4 1 1 4 1 1 4 2 4 2 2 4 4 1 4 1 2 T " l 1 4 1 2 1 1 4 1 4 4 1 4 4 ^Í~É•
4 2 4 1 4 4 1 2 4 1
2 4 2 4 1 4 2 4 1 4 1 2 1 1 4 1 1 4 2 1 2 1 4 4
4 4 2 4 1 4 1 4 2 4 1 4 1 2 4 2 4
i 4 i m~~4 y ri j} f— H TJ f
-^ f tf flJ1 * — 1~ ^1 —
2 4 'l 4
•
1 4
vi v vi4 J* * • -K
^^* C i^J * — m — l./ *0 : H—
i
''VI• f , — e —
T=H J '••
1 4 1 4
VI
f r i-J— r—H— W—\-
—\~
*rt
L -&-
1
2 4
i
ffr -—i —
— , y
ffr1 i —
i ?$?rI I I1 2 4
VI v4 o 1
• í í
+- -l-|
f f r - "i i r - fFR-t-
—P4> .f i• — (FM=IH
2 4 4 1 4
I1
P—-H-J-
P i' -« -f-
h.R»-Ji .
• f P FÍÍ—P — —F=F
4
— Pn -f-i-
vf-M—i i
— i~\-
* The usual manner of playing the second beat of this measure would be to play the two eighth notes,3020 G-sharp and A, in the same bow , upbow. It is up to the discretion of the teacher whether or not to
31
The Seventh Position (VII).
In thís and the following two positions the thumb, which up to now hás been placed either along the back ofthe neck or slightly to the left sid; of the bick of the neck, now changes its place by gradually moving muchmore towards the left side of the neck.
On the G String- On the D String-
or: or:
CT=f 1 — 1 1 —E f lat K F D sharp
On the A String-C Or:
1 2 L * 1TT= ri T3 W 3.9=— p * «f —
l l L 1 1 1 ¥=Dsharpl6 E sharP B flat B C A sharp
On the E String-d or:
2 4 1 2 4. 1—fr- — n j • 1-£? i 2 j — y — ^ —
"• ' TT
A double R
sharp
2 41d J *'•
sharp
F G flat G
On the G StringVII
f latE sharp F sharp "p
Exercises on the Separate Strings.
B sharp C sharp
f f |T ^f l f f l T f |f T l T T i fB4 2 4
Onthe D String-f VII
4, (. r V iy c? ' i _) f t1 f t 1p — i « JP iir3 — i— ' — ' —
it S Hhr — i*r ^r ii i — i4 l
On the A String-
9 VIIt): /*./ (/ |r2^9 Itn— fir
(9*1s^ffiG n 1hn
^
& HhP — *!j mi9 — $~P — 1r—^ \ 2
On the E String-h VII
r t: à r. ¥bdf, — <5Í v~& CT N^l_l[£, xrJ í]!jr F W«=l4 l
Exercises in the Seventh Positionon ali the Strings.
2 4 2 2 4 l 4 2 4 1 2 4 4 2 4 2 4 1 4 1 4 4
r ir f i f r h - f f ir f i f f; Ê -O-
4 4 l 4 2 4 1 4 l 4 4 2 4 4 1 1 l
32Exercises in the Seventh Position
together with the preceding Positions.
II1. H
1 4 1 0 1
fí^ hF^^^• —• 1• — 1 B
•• j
^
F3=MI4 1 4 4 1 4 4 1 4 2
3.
1 4 1 2 1 4 1 1 4 2 4 2 4 l 4 1 4 l 4 1 2 1 4 4 l
r r i^rr if r ifrf ,f f ,fff ,f f2 1 1 4 l 4
VII _ -TVIV II IV
1 4 4 1 1 4 1 4 1 4 1 4 1 2 1 0 4
2 1 4 1 1 4 1 ^ 4 2 4 1 4 I o0 1 4 1 2 4
1 4 2 4 4 l 2 l
33
F Major Scale
7.
a 4 1 2 1 • 4 1 4 4 1 2 1 0 4 1 0 i 4
"ÇT8. 3
(v v)
IS 1 4 2 4 1 1 4 1 4 2 4 1 4 1 2 1 0 4 1 2 l
jSh.R
l O 1 4 1 2 1 2 1 4 2 4 2 4 4 1 2 4 1
4 1 4 2 1 1 4 1 4 1 4 4 i l 4 o 4 1 4 1 2 1 4 2
4 2 1 2 0 1 1 4 4 1 1 4 2 4 2 4 1 2 1 1 0 1 4 2 l O
4 4 1 1 0 1 1 4 2 1 0 2 0 1 1 4 2 1 0 2 0 1 2 1 4 2 4 l
* See note, bottom of page 30.
.
The Eighth Position (VIII).
On the G String-or:
l i a U *•
f 'f ^ f f:
On the D String-b or:
l , 2 , .4 , 1 , 2
ÊiilÉK K sluirp F sharp E F G flat
On the A String-
B B sharp C sharp C flat C
On the E String-C or:
l 2 I t 4 , 1 . 2
EEl?g
4or:
F sharp Fsha"le G -shilT G flat G A flat C sharP ^har ')''" D sharP D flat D
On the G String Exercises on the Separate Strings.
f ,t PT ,*F fr.r ,f fbf .ff f M4 1 2 1 2
On the D String-
r T r if r ^ÊÊ
l 4 l
On tho A String-
-' ^9 —X
1
i 1
O
[frr — 4
p —\ © — rm 11 — i —
Hfrr- 1[tr — ti 1rtr? rp 1ns h-p i »p' air ^On the E String-
VIII
^r i T rExercises in the Eighth Position
on ali the Strings.
4 4 1 4 l 4 2 1 4 1 4 4 1
Exercises in the Eighth Positiontogether with the preceding Positions.
35
r r . T f fr f . f rl.1 4 2 4 2 4 1 4 1 4 2 4
É r .frirrifr r .ff f T i f y .»rfp=F -o-
1 4 2 1 1 4 2 4 4 1 2 4 1 4 4 2 4 4 2 4 2 4 l
l 4 2 4 2 1 4 1 4 1 4 l 4 4 2 4 2 4 1 4 1 4 2 4
F sharp Major Scale
J _ IVIII III
-O- . , 5 - . - rO II O « O-
- . 4 1 4 4 i -O-
h.E VII III h P í* IU n'K X h.R ~ l 4 i
h.P I
2 4 4 l
VI
4 2 r r f i r r f-e
l 4 l l 4 4 1 4 l 4
VI4 2
f f f i f f f i f4 l 2 1 4
-Q-
4 2 4 1 2 1 2 1 4 l l 4 'j 4 2 l 2 l /,II
4 l h-I; 2__1 ', l l ''
5.4 1 1 4 1 2 4 4 1 4 2 1 4 1 1 4 1 4 1 'l l 7 \ ' 'll l '•
2 4 l 4 l 'i l 4 1 4
1 2 4 1 2 4 1 4 4 1 4 1 4 . . 4 1 4 1 4 1 4 4 1 2 1 4 l 1 1 2 1 4 2 4
h.R I
Íͱ±L V1 I I I hl ' I n I' I*Another fingering which may be used in descending is : n "**" ° " " y> n o „ ' II
4 2 + 1 2 1 4 . l 4 1 1 4 1 4 4 1 2 1 4 2 l 1 4 1 2 1 4 4 l 4 l 4
2 l 4 \ l i 4 4 2 1 4 4 l *. 4 l l 4
2 4 1 4 1 4 I 4 i 42^, 4 t 2 4 l 2 4 4 i 4 8 l \ 4 ^T 4 l
1 2 1 4 l
4 1 4 2 1 4 2 i l
4 4 1 2 4 4 1 4 1 4 1 4 4 1 1 4 4 1 2 1 1 4
1 4 1 1 4 1 o 4 1 1 4 2 4 l 2 4 1 4 2 4 l 1 4 1 2 4 1
l 2 l 4 * 4 l
4 2 4 1 4 1 4 4 1 4 ^ 4 2 4 4 4 i 4 l 4 l - > 4 1 2
4 4 1 2 4 1 4 4 1 1 4 2 4 4 1 2 4 2 4 1 2 1 4 2 l
4 1 4 2 1 1 2 4 4 1 2 1 4 l 4 i 4 1 4 4 1 2 4 4 1 2 1 4 2 1 4
4 2 1 4 1 4 1 4
4 1 4 4 1 2 4 4 1 4 1 4 . 1 4 1 4 l 4 l 4 l 4 l 2 4 1 2 4 4
1 4 2 l l 4
1 1 4 2 4 4 1 4 1 4 1 4 2 4 1 2 4 1 4 2 4 2 4 1
4 1 2
IV « ê ^^^
l - l
* Alternate fingering : \n-rrf.lt t t_ . , L I I
3020 '
37
The Ninth Position (IX).
In this and ali higher positions the íburth finger is usually not used, as ths position of the hand now makes itmore practical to use the third finger. The note which occurs an octave above the open string need not be pressedbut may be played as a harmonic, touching the string lightly with one finger only. This is most advisable whenthe note is approached or left by an interval larger than a whole step.
On the G String- On the D Strin«-
or: or:" i ' * \,'1
F G flat G
On the A String
G A flat A
On the G StringIX
c ^ l£- -P =£=-*- — — o3 — ã
*f f 'f . f1 2 3 o
lf f ti *rP — '
Esliarp Ftil.arp í! ''6 C D flat I) B sharp C sha
On the E String-or: o ^ „ or:
1 ^ y*> l l 2 , S 1— ^' ^ s — "^r3 frr3 : — #75
0
f IIC douhle
'P .1 sharp
03
: p* r" 5nd p-p >*-p» -n
Fdouble Gdouble ' ., C douhle ' I I .'loubleG sharp D E fiai E , D sharp .sharp F sharp sharp "'»' sharp
Exercises on the Separate Strings.
f #Ê #£ ^ ^£ ^ ^ kf ^ ^ ^4; p — ]_ j 103
1 1 1 h-
On the D
/ x-t»- -o-ÍY ''j* /*j \, 'i
1o
l 3
-1 4 i ' i JL 1 _ | 1]
On the A String5 IX i
**!' /* — •* —y i.bei-4^ — vre> d-4" — H-ti
j-V J
V'J
t i•j *»
On the E String' IX
3ÈEEf=\=\l
z.-rj Q?==*ê=1 idh- 11 " :.]Mo 5-^=p=M> —yj==^==j=tn^—
E==d- n- ^ \ — __L
Exercises in the Ninth Positionon ali the Strings.
f.ff/ffr/ffiff-fc^ p, n
mrT" i ' 1 ip ^O ! O !J \ 3 l O l 3 33 3 a 3 l 3
PPf
f r . ir r f
38
IV
Exercises in the Ninth Positiontogether with the precsding Positions.
I X
2.0 1 1 2 1 2 1 2 1 4 1 4 1 4 2 3 2 ,'i 3 2 1 4 l
0 1 4 1 1 1 2 1 1 1 4 1 1 1 4 1 1 1 4 1 1 2 3 2 3 2 3
f f f f . f f r f . f m3 4 1 4 4 4 1 4 4 4 1 4 4 4 2 4 4 4 1 4 4 1 0 1 4
'<•4. S f r*r ir•nT"1 vi
fj È|) l 4 ' 1 2 1 4
III
2 3 3 2 4 l 2 l
n vi
1 1 4
W
3 í 2 4 4 í 4 I T
G Major Scale
l 2 1 4 a 3
1 1 2 1 4 1 2 1 1 4 1 4
7.0 1 4 1 4 1 4 1 1 2 1 4
i iTTEff f f i fCf f r t i ifFfrrffifffrr, .fffrr rfjg«— l l l I I p l r l 1
1 1 4 2 3 1 1 4 2 . ' J 2 4 1 2 1 4 l 3 4 1 4 1 4 1 4 4 1 2 1 4 'l 1 2 1 2 1
39
The student mustinot be content with merely acquiring technical proficiency on the instrument, but must constantlywork towards making hisplaying musically expressive. The nuances indicated in the following exercise are suggested bythe editor ; the student may follow them or substitute his own. It is strongly recommended that phrasings and nuancesbe carefully introduced in ali pieces which are to be played from now on.
v n
84 2 0 1 . 1 4 1 4
.0 1 4
P
1 2 4 4 1 diminuendo 1 4 2 1 0 1 4 1 2 1 1 4 2 1 3 2 3 2 4
4 l 4 4 1 2 l O 4 1 2 1 4 1 4 1 4 1ditn. O l
cresc.4 1 4 0 1 1 2 1 4 2 r 2 4 1 4 4 1 4 ^ ]
nbrino thc thumh nhove the strinss. só that fhe first fineer is oarallel to the second
40
The Tenth Position (X)
Proceeding to move one-half step higher than the Ninth Position, we come to the Tenth Position. While playingthe higher positions, the thumb gradually moves from behind the neck and is placed against the side of thefingerboard. Just how this occurs depends to some extent on the shaping of the neck and shoulder of theinstrument, and also the length of the player's thumb. But generally speaking, in the Eighth Position the thumbshould be placed on the side of the neck of the bass, and in the Ninth and Tenth Positions it is moved to theside of the fingerboard. As in the previous position, the fourth finger is usually not used. Most commonlythe second finger is used to press the string firmly instead of utilizing the harmonic, but there are many instanceswhen a shift to this position will be greatly facilitated by employing the second finger on the octave harmonic.The times when the third finger on the A String will be ussd in this position are exceedingly rare ; even rarerwill be the instances when it is necessary to use the E string.
On the G String- On the D String- On the A String-or: or:
or:
F sharp'J^'" G sharp G flat G A flat C sharp Cs<^ble D sherp D flat D E flat G sharp Gsdh°"rble A flat A
On the G String-Exercises on the Separate Strings.
¥
On the D String-X
=i^
On the A String-
M' f Trn
Exercises on Three Strings.
i v(L <*. i i \>
1 3 3 2 3 1 3 3 1 3 3 3 1
^*3020 At this time.it is recommended that the student acquire and begin to study the 30 Eludes for String Bass by Franz Simandí?
Exercises in the Tenth Positiontogíther with the preceding Positions.
41
3 2 4 1 2 3 2 3 3
2. 2 3 1 3
A flat Major Scalo
TiT-lr-t ~ s
1, 4 2 "
- •• -- "- *»
í ~ '-1 ^ .— » * * ' - - - • • — ' • •"* ' * l " • '
3. £mmít l 4 4 l 4. l 2 1 4 2 3 2 4 1 4 4 1 4 l 4 l 4 4
f r r i f f f Ê frPPÊP
^4 1 /i 1 4 1 'i t 'i 1 /i j
l 4_
4. S^thr^- r r i f r r r f i f2 ^ 1 4 1 1 4 2 4
L f f f f .f r i r r3 1 3 1 2 4 2 4 4 1 4 . l 4 l 4 2 4
>
l 4
5 y-1 "i b yz= :
^Ê f f , f f f , f - ^M
II
4 1 4 1 2 1 4 1 3 4 1 4
nrf f , f f fgLfef4 1 4 l 2 l 4 1 2 1 4 1 3 2 1 4 l
ê £f f f l f f f l f f -
ndl.4 4 1 2 4 2 4 1 4 1 3 1 4 l 2 1 1 4 2 1 1 4 2 4 2 4
V
frlt-T Z <f T. l <f T, %• T
J J 4 J J 'T*
R Í T T K E S l Z l
i*M
l l O l
'9
S T I f r t T T Í í r S l 2 S t i ? : í-
iMjpJiUJ^1^^^1 a
T 2 I ír 2 l E t » / * • t- T t i . 1 8 t- t
43
The Eleventh Position (XI).
is the final position below Thumb Position, and is placed one-half step above theTenth Position. In this positionthe instances when the third finger will be used on the D String are extremely rare. The octave harmonicnow falis below the first finger, which may either press the string to the fingerboard or utilize the harmonic,according to the convenience of the passage.
On the G String-or:
On the D String- On the A String-
1 l f í? s /i
or:
G .sharp D E flat D sharp A
Exercises on the Separate Strings.On the G String-
XI a l,i -•=. HJO. v-e. Vi•»• £ X^2 fe £
= .Ê f . T fl 2
On the D String-, XI On the A String-
• Y f (tp K^ íp "f a / xi ^^:^ i 1 —i 1 —i 1
f* • l: P-
s J42 — ^ . — ko „-|
2 l
f f f | f
1 2 l
Exercises in the Eleventh Positionon three Strings.
-o-
f1 1 1 3 1 1 1 3 1 1 3 l
^M2.
Exercises in the Eleventh Positionin connection with ali the preceding positions.
f r r i r n r ^ r r f r r i T f r i f ^ i f f f i f f i f ^ f f i f f1. 5HE1 4 1 4 1 1 4 l 4 l 4
l 3 3 3 1 2 3 3 2 3 1 3 1 1 1
4 4 4 2 4 4 1 4
45
C sharp Major .Scale
-O--o- -*> o
a 4 1 4 1 2 1 4 1 ' ( 2 4 1 4 4 't 4 2 4 \ 4 1 1 4 l
a l 4 2 1 1. 4 l 4 l l j~l 2 T' 4
1 4 4 ! 4 1 4 1 * 1 4 1 4 2 * 1 4 1 2 4 1 * 1 * 4 1 4 l 2 4
^l i . r i l 1 .* * . .. . -Jp.1»pil .8 * . * 1 . J > ..*. ir.T*rrrnrrrrií ; p i-rrr irrrrir rrrif r irrr ir rnr0 4 ! ! * 4 l 4 4 'i 4 1 * 1 * 1 2 4 2 4 1 4 2 4 l 4 l 4 2 4 2 4 1 4 1 1 4 4 1 4
* l 4 4 'l 41 4 l 4 'l 4 2 4 <! «4 'l 2 4 l 4 * O * 2 4 l l 2 1 2 2 l 2 *
G flat Major .Scale
l * l 4
vii m h.p
1 4 1 1 * 1 2 * 1 2 4 4 1 4 1 ! 2 4 1 4 1 4 1 4 1 1 412 4 1 2 4 1 4 1 4 1 4 1 2 4 1 2 4 1 4 2 4
Í* 2 1 4 1 III II **Íl2 i
Exercise
4 4 1 4 1 4 1 4 4 1 2 * 1 4 1 4 1 4 l 4414 l l 2 * l 4 2 l 'i 4^7" j*4 l 4 1 4 1 4 ' , 1 4 2 1
C flat Major Scale n
IV l11 4 i a 2 i2 * X ÍL O
~^h~^L_k! Ll 'i
v 9 1,*»i 4
— j-^
1h. P
—f» —
I
—e « ^= r1 S 2 3 4 . ,
h.R I
A.
—e n—~ i 4
<*
1
2 * *4 l
g l2 l 4 4 l
íl 4 l l 4 1 2 4 1 4 l 4 l 4 1 4 2 1 4 1 4 l 1 4 1 4 1 4 1
i Í1 4 2 4 1 1 4 1 l i 2 4 4 1 1 2 1 3 1 4 4 1 1 4 l *
r r r i f f , r r f , f f4 1 2 4 * 1 2 4 1 2 4 2 * 1 1 4 1 2 l l
A
rmrr^n
J
47
±%4-B Minor y r|j f: n «—l_« li *» T_— — , J —
j « i fl° ° [—-t e J
r»4
-V"
14" í>-
— « —— ri Pi —
— t s—— " «
Exeràse2 1 2 4 2 2 l l 4 j 2 O 4 7 4 14 4 l '» 12 /» 2 4 2 ' » t 21 4 1 2
1 1 4 1 4 1 4 o 4 1 4 :i 2 4 1 1 4 1 4 2 4 1 m^ f l o l 4 2cr esc.
41 2 1 4 1 4 2 1 1 4 1 4 2 4 i 2 o
/ /*3
' 4 1 4 1 4 2 1 1 4 1 4 1 2 1 4 1 0 4
4 l 4 14 l 1 4 .',
4 1 2 1 4 4 1 'i 2 'i :i 2 2 1 1 4 2 1 0 4 2 4 1 l 'n 2 4 4 l 2 'i 2 4 l.»> > . 1 *-* "*
F sharp Minor ^^j •^n| l^°"Q^-"ò^ i |0 . . , ,_l 4 ° l ° 4 i
VI
4 l
Exercise ^ <t J (4 2
4 1 1 4 1 4
4 .,
4 4
4 l
l T •2 l
f f rr i rrrr1 2 1 4 2 0
'' 2 4 l :,
4 l 4 -2 4 1 4 1 2 1 4 1
VIl *
l 4 >» *
4 4 1 4 1 4 'l 1 2 2 1 4 l 'l 'l l 2 4 1 4 1 2 l l 4 l 2
44 ^ 1.4m
O 2 l l •'« l ~ l ' ' 1 4 2 1 'i •> l 1 4 1 4 2 ,-i 2 4 1 4 1 'i 1 2 1 2 1 4 l
' ' 4 4 i 4 2f f f i r f r r i r f f f i r f f r i r f r f i f r r4 1 4 1 4 1 4 1 2 4 1 2 1 4 1 4 1 4 2 4 l 4 l 4 2 4 1 4 l -( 2 2 l • ' » l 2 4 4 ,
(8
l ,!2
11: d a jC sharp Minor J' fa>- õ 2 _ * ._ tt-*
4 2_3 1_
xerctse P l » Q l . -In ir r i1 4 2 1 1 4 1 4 2 3 3 1 4 2 2 1 a 1 4 4 1 2 t 4
4 2 1 4
f 1 1 J<i * /i0 4 2 4 i i * l 22 2 1 2 2 1 4 1 2 1 4 4 2 4 4 2 4 1 2 3 3 1
2 2, l O l l 4 l 2 4
4 ». -« n * . r. t* r\ P |[ l | 1 ' l 1 j ' 2 *! 4 l 2 l 4 í 2 1 3 14 2 2 1 1 4 4 l 2 1 4 1 1 4 1 2 i 4 2 O 4 1 4 2 4
r;;i:jlu^i]li;n»ffíffffi^l r • m^f- TC — f , — rv _Lr_!I_ l4 2 4 1 2 1 4 2 i 4 1 4 l l 4 1 4 ! 4 1 4 1 4 1 4 1 2 1 4 1 4 1 1 4 2 4 1 4 1 1
vn .— vn
2 1 3 1 2 1 2 4 1 2 l 2 1 2 2 2 4 1 2 4 l 4 l 2 1 1 4 2 1 2 4 2 4 4 l 4 4 * l
D Minor
u (U», x» £i k-f*. l. _o._aja..jcr^ — _ tf** PO _/• 1 1» »-» — ^ 4
•' 9 : ;: j 1 *— "4 3— * s —
0 1
— e n —. ° - " õ
á i o
4 r"4 2 4 4 2 t 4 1 2 1 2 2 4 1 1 4 4 4 1 2 1 4 1 2
n.,v
0 0 2 2 4 2 4 4 1 2
2 4 2 1 2 4 1 2 4 2 1 1 4 1 4 1 2 1 0 4 1 2 4 4 1 0 2 4 1 1 2 4 1 1 4 0 1 1 í O l /,
1 1 4 0 1 4 1 4 1 3 4 1 4 1 1 2 4 1 1 4 0 1 1 4 0 1 4 0 1 1 4 0 1 4 l O
If the teacher só prefers, this exercise might be played with the following bowing:
vn V n _
n *_ «* l LJ V V " V
2 4 1 4 1 2 4 4 1 4 4 4 1 2 ll 2 l 4 l 4 8 2 2 1 2 1 4 1
4 1 0 2 1 4 2 1 1 4 1
V Py
4 l l
M»-^a=a=a==P»J 4 4 2 S«J
4 2 1 2 l 2 4 4
G Minor -fc-Hrtx b oí O "
4 0 1 *
*»P°» » "-"
^r— 1 4 1 = ^— «-o i ^ o '• » t - '
— ! <J «t
S 1 * o 4 1 .°
t» çj - ~^ * f^ 1-
**o « > —"* ° 4 1 0 4
Exercise V* (; ^0 1 1 4 2 1 2 4 2 l Q l 4 l 2 1 4 1 4 3 0 2 0 } Q 2 4 1 4 2
O 1 4 1 4 1 4 2 1 4 1 4 2 1 o 1 1 4 1 4 4 1 2 1 4
1 3 2 4 3 4 1 2 1 0 2 1 1 4 4 1 2 1 4 1 4 2 1 4 1 o 0 1 3 1 4
2 4 0 2 2 4 2 1 2 4 0 1 2 1 4 2 4 2 4 1 2 1 1 4 2 4 4 1 4 0 1 2
1 4 1 2 0 1 1 4 2 4 4 1 2 1 2 1 4 1 4 2 1 4 1 4 1 2 1 3 1 4 2 4 4 1 4 1 4 1 Q 1 2 1
r^4 4 1 4 1 2 O 4 0 1 1 4 2 1 2 0 1 4 l „ , 4 O 1 ^ l 4 1 1 4 2 . ' i 4 4 1 4 1 4
l 1 1 4 2 4 2 4 1 4 1 1 . í a o l 2 1 4 1 2 1 4
OÍOí
õ i/ r. í, n r, ,-. i •'• •/ i v i o i o ; i t .~ t..~ t t
I I K t t S t l £ T ~
. ^ o i * t fr r. * l o T O ? : * , í ~-o
* t
^ 1 1* 1 í~*
' t i * .
° * V f^
v n T
41 á^1 * ''
..". c , . ^ f\i k
»/|y ^ ° 0«»
L O * * " ^
n ' 1
AH' •
/
»\ "7JOUl(>j J
t 10 tT o * l
i t T n R ir. l r. r. t i v r: v i 5: c <~ t K i r :
-4 fc-33: -e-
o «*
51
Enharmonic Minor Seal es.
l 4 l
B flat Minor O "o K»- o _ r»
-f) 3-
2 1 4 l-trrr -o- -o- ~rr -o-
h. R
. 1 , • p ff f p-fcE ik, 1 /* l US }> \v. \.j \ •«
[,r4• p-f-,r~H —i
MH~T~i,H
J—Q
4
•
1
9 —
2 1
0-4
P
1
.
4
i
1
9a — V 4- nj « E j j• P P •» _«rH r^h^ —m t*
^ 2 114 2 1 4 1 a 114 l 2 * 4 l 4 l * * l 4 l *
I
'o i a 4 4 'l 4 4 2 4 0 1 4 1 4 2 4 1 4 1 2 4 4 1
2 4
4 2 1 2 4 ^ 4 4 4 1 4 1 2 4 1 1 4 1 - 4 2 4 4 1 4 2 4 1 4 4 1
2 1 4 1 4 . , l 4 1 1 2 1 4 1 4 2 4 1 4 2 4 11 4 2 4 1 2 3 1
4 t 4 4 2 2 l o 1 4 l i l 2 1 4 1 4 1 4 1 2 4 1 1 4 4 t l 4 2 4 2 4 4 4 1
The A sharp Minor Scale is played with the same fingering as the B flat Minor Scale.
4 _ l V 2 l l L. , l , , 2 l 41 -e n-o-
*n -j-
4 4
Exercise - r1
0 1 2 4 \ 1 2 4 ' t 4 4 2 4 1 4 0 l * l 4 2 4 1 4 1 2
1 1 4 1 4 2 4 4 1 4 2 4 14 1 * * í o l 4l
2 4 1 4 1 4 2 4 1 2 3 1 4 1 2 1 4 1 4 o 1 4 l 2 4 2 4 1 4 2 4 1 4 2 4 1
t 4 4 2 2 1 2 1 4 1 ^ 1 2 1 4 1 4 1 4 1 2 4 l l * 4 I Í 1 4 2 4 2 4 4 4 l
52
» lE flat Minor. -cy-fT
' * t> 1. t i — e — "
> 1! 2 4
. Z^ Q_
z â 1 4-W n J; Í 1
1 * 4 , "
Exercise 3?4 1
l 4 1 4
??££
2 4 4 4 1 4 1 4 4 ! 0 4 4 l 2 4
l 4
1 4 1 4 1 4 4 1 4 1 4 1 4 4 i 4 2 t l 4 4 l i l 4 1 4 4 1 2
^ . 4 l
É Ê Ê o l f-1 o l /r~E- l
^syrfr
4 2 1 4 l 4 1 4 4 1 1 1 4 1 4 2 4 4 l o 1 4
/.
l 4
iJ r i r r r r i | ' r^^l 4 — i 4 j l 4 l 4 1 2 4 4 ! 4 4 l l 4 4 i '„ 4 1 4 1 4 1
m-rr
4 i 4 l 4 l 2 4 4 1 2 4 4 ! 1 4 3 2 4 4 l 0 1 l O 4 * * 4 1 * * ! l
D sharp Minor is played like E flat Minor.
^ V Q «J ity w p ift — ® —1
4
0
1— o —
4
4* \ i Q. ftr* X-O- •*-* HjJ-O- Br» .' f
i" 4 2 4 \ ' \• t »M 4 1 *
1 4f*
4 4
1
— >
1
Exercise
^
i l . 2i 4 1 4 1
»1 4 1 4 1 4 2 4 4 4 1 4 l 4 4 t 0 4 4 t L , 4
4 i , l
f^rff |S» f ( [ ' r j ^1 4 1 4 1 4 4 1 4 1 4 1 4 4 1 4 2 l l 4 4 l l i 4 1 4
4 _ _ m _ _ -T~- i 4 *•l 0~^ri \l l "^4l f y IP^J <9—r
4 1 2 4 2 1 4 t 4 1 4 4 1 1 1
[ i r r f r i r r i r
l 4 2 4 4 l
Jt l 4
3Z
2 l 4 l1 2 4 4 4 i l 4 4 ! < ) l 1 4 1 4 l
\l l 4 !! 3 4 4 1 2 4 4 1 1 4 2 Í 3 4 4 1 0 1 4 0 4 1 4 4 1 4 4 1
3020
53
A flat Minor^f
õ**2 i
l 2 4 l 4 l , 2 4 Ín
Exercise 3.m
gi1'. k L. r4 1 1 4 1 4 0 1 4 1 4 1 4 1 0 2 1 4 0 1 1 2 1 4 1 4 1 1 4 4 1 4
2 l'
1=1 f^ff
D4 2 1 1 ,
4 l
M
2 4 4 1 1 2 1 1 4 1 1 4 1 4 4 4 1 4 4VI
4 , 2
í2 4 l
pl 2 1 4 4 1 4 1 0 1 1 1 4 2 4 1 1 4 2 4 2 4 1 4 1
iái ^ i p Ê r ir ,n.i0 1 4 1 4 2 4 2 4 1 1 4 4 1 2 4 1 4 1 2 4
É4 1 4 4 i 4, 4 i 4 4 2 ^ 4
Q l 4 l 2 1 4 2 1 4 2 1 4 2 1 0 1 4 2 1 4 1 4 l
G sharp Minor is played like A flat Minor.
2l 2 4
-O-'4 4 1 4
-4-4 l
3C l 4 l 'l 1 4 14 l * *' O
2 l 44 l
l 2 4 4 l 2 2 4II
txercise
^V D t*ií-^ f rB 1
-r1
i•*
-K
4
^
rhr
v
-f
2m
— •4
49
1
1•
-J1+4
4>
f^PH — 1 — '1 4
-* j
-J L
0 1
r
— r-H—
4 1 4 1 4
_- '
f- pà — F — —1 — i —
1 0 2
» l» 1* r— i — '•
T"i
5-
T"4
n4—-\
0
f4-— )-^
1 ' ' -
f r pri — M
' ' 1
1 1 1 |
1
f f-1
-L-H-4 4 .1
. í19- «
4- — f—-1 r—
4
1
4 1 1 2 4 2 1 1 4 1 4 4 4 1 4 4VI
. , , f -p « - 1 5 H « Í 4 2 4 4 . 2 4 1 L-. 1 *t. ): |i ffij — 1 — j- —H —H — '
p H — ——j — \- — r*!•- -N'-j
f— é L-«l —=M*sH «H
•^
• MJ-'
— 1 ^
f=
p V
, 4 l r f f . r r i r r f É ?( | l 4 l 4 2 4 2 4 1 1 4
4 4 1
4 1 2 4 1 4 1 2 4 2 1 ^ 1 2 4
4 4 l, 44 l 4 4 2, 4 1 4 2 l 4 2 l
1 •'. 1 0 1 1 2 1 i 4 2 1 /, o ', o 1 4 2 l /4 l
54 PART III.INTERVALS AND EXERCISES.
The student is urged to give his most careful atteption to the following 15 pages ; accurate intonation is one ofthe most highly valued assets a player can possess. At first, practice the intervals slowly, concentrating onabsolute purity of intonation ; then varieties of bowing and rhythm may be introduced, for example : •—
Thirds.
•> . u
r r ir r ir r , r f | f f if f if2 1 0 2 . 1 0 l 4 2 4 1 4 1 4 2 1 4 2 3
'/.f f if f if f i f r \T r irT i iy_..7...M.'.' . . . . ....T.".~.V" 1 ....I.... ' 1 r ir r i í
4 1 4 1 4 2 4 1 4 0 1 2 0 1 2 ' 0 l 2
•Vfc t t 1 ,IE J-J ^~rL-g *L 1L. — gí -e- -Tf- ^ — :£=1 H < :
1 M
j frr. -H—— J 1-1 1— ' 1O 2 '1 *
.,. r r T f f7 f7f ,f f .f f .f f |f7|f7if^" T ^^_^_____^_^ ...._ o , n n
Ê1 4 1 4 1 4 2 3 1 3 3 1 3 1 1 3 2 4
MH r r i r P N j u j ii1 4 1 4
^ 1*y t t=^=i f.B1 1 F^HH — i
y 'J Q
j
2 1
P* — H —— 1 —4 1
~ i1
4 1
H —H '
2 1
u L_-q-1 1
4 1„3 1
.j, f f ,f r ,f r^£1 2 4 1 4 1 4 2 4 0 2
-o-u-e 1 o4 1 0 4 1 4 1 4 1 2 1 4 1 2 2 3 1 3 1 4 2 4 2 4 1 4
ifa ^^PJ9—F- 'r ' ' TN A 1 '.2 1 4 'l 4 1 '4 2 1 0 4 ! 4 1 2 1 4 1 4 1 2 1 3 2 1 3
2 * l 2 4 1 2 4 1 . 1 4 1. 2r |i r ir i * •« i
i Ir J l - l - i i3 1 3 1 4 1 4 2 4 1 4 1 4 0 1 4 O l 2 4 i 2 '4 l 2 4
2 1 4 2 l 4 2 ^
4 2 1 4 2 l 4 2 4 2 1 4 2 4 1 4 1 4 2 3
f ,f f ,f f ,f7 ,rr ,f? .r 2 4 l 4 l 2
3 1 1 3 2 4 1 4 1 4 4 2 4 1 2 4 1
55
It is suggested that in these exercises the student should frequently use an open string to check his intonation, for example : —
etc.
Z O í 4 1 4 l o
J. __ 1J \ fi
2 1
r—f-i-à- -f, —p —
1 — '
H — iW-1 — iÀ— o
'
- J TT 5— rr-f-r
2 1
P i1
4 1
f2" 1j 1
4 1
rFfn-1 — i —2 1
^T^\ 13 2
rFhii i li1 g — U
1 3
V v .* r r ie '3 1
rn4 1
PH4 1
1 | P 1
4 2
P4
P
1
fí1
4
"n0
" pM—i
7— 1 g
M— '— •
4-^ i -^ -6— e
V I Q f f ,ff ,f^
0 4 1 4 2 4 2 4 1 4 1 2 1 3
f , f^
3 l f-)
3 1 2 3 1 4 1 4 2 4 2 4 1 4
3 l 4 ! 4 1 2 1 4 1 4 1 3 2 1 3 1 3
. . . d l
-»- — —5R 1 1 __j
3 1
I I
3 1
lI I I
4 1
i r iJ — i—4 2
i ' i-L-\-4 1
rrnU —
4 1
rf-4—4
J
1 1 4
r^ 1
iJ—2
7! 1
p—
4
-HÀ—K \ ¥ e j^
J l J J l J±i2 l 4 i 4 ! 2 1 4 2 1 4 1 4 1 4 1 4 2 * 1 3
4 y « T dS *fF9 ' '
3 1
-4—^
4 1
-M—— i — i —1 4
4-4—1 12 4
H— J
2 4
r-4—H—
1
rJ
4
^
1
«>._.
4
rJ
—
2 4
Q
FíMi L
^— 4-H^ fJ
1 4
H—g
1 2
-4—fj4
-fi15
UtJfj ^
1-sL
n f i fÉ .g ^3 2 g ' ^Z^ f ' ' T i M2 1 4 l '4 l ,4 2 4 1 4 1 4 1 2 1 4 1 3 1
' ^ / f f ~ *^ J
f f f ^ f p ^ o P ^ o . , , - 1M l — 1 -\ -| -1l
& —- 'J 9 ^— £ —
__r^ -$ —
1 4 1 2
h.R I h.R h.R
'-._> l 4 2 1 4 2 l 4 2 1 4 2 4 1 4 1 4 2 4 1 4 1 4 1 4
l ' i :' r f1 3 2 4 2 4 1 4 1 4 1 2 4 i 1 4 1 2 4 ! 4 1 1
56Exercises
h. p.
êh.R
4 4 1 2 4 i 4 O
•-P
FcJirrrnr f irrnfrf F=*
4 1 4 4 1 4 1 4 1 0 2 1
m1 4 1 4 1 4 2 1 0 4 1 4 1 4 1 4 2 1 3 1 3 2 4 1 4 1 4 1 4 1 2 0
3 2 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 l 4 1 4 1 4 1
P4 1 4 1 4 1 O
l 4
l
0 4 2 4 2 1 4 1 2
1 4 l 4 1 1 4 1 4 1 2 0 1 4 1 3 l 3 1 1 1 4 1 2 4 1 2 4 4 1 2 4 4 1 2 1 3 1 3 l i l 0 1
r r rMtfrr\f2 1 4 1 4 2 4 2 1 4 2 1 4 2 4 1 4 1
•K r r m r r r J^
3 1 3 2 4 1 1 4 l l 1 4 1 3 l 3 1 2 4 4 1 4 1 4 1 1 4
4 1 4 3 1 3 1 2 4 4 l 2 4 1 4 2 3 1 1 4 1 2
r r c f i f f f r i rl 2 4 2 1 4 2 1 4 2
rJirffnr
l 2 4 2 1 4 1 2 1 4 1
I
r f f i r r r n r4 1 4 1 1 2 4 0 2
Fourths.
r . - f f f f f-e e-
1 1 4 * 1 1 1 2 4 4 1 1 4 4 1 1 3 3
P M'/, l l-«—-«—3 3 4 4 2 2 4 4 1 1 4 2 l ! 4
,1 |.l J | J [.|.l_P-
^^ 1 1 4 4 1 2 4 4
fci; 1 1 —L -4-4—i 4- •" r4— •^ — -Hi O
' 1
rj — ->•*
or-
•y-i6
-4—'- S
-<sl— l—
^ l4 4 2 1 4 4 1 1
If dots or dashes are placed over notes connected with a slur, it indicates that the notes, while not being played legato,
58
1 1 4 4 1 1 4 4
4 4 1 1 4 4 1 1 4 4 2 1
O O " O O1 1 4 4 1 2 4 4 1 1 3 3 3 3 1 1 4 4 2 1 4 4 l i 4 4
l 4 4 V l l 24 * l•,n,,flffirfir| |l 2 2 4 O l i 4 4 2 2 4 4 1 1 4 4 1 2 3 3
l * 4 4 2 1 1 4 4 1 1
Ê M3 3 2 1 4 4 1 1 4 4 2 2 4 4 1 ! 0 4 2 2 j l 4 4
. ' ' r i f r i r r i Rf Tf .ff .f f ,f=
4 4 l i 4 4 1 2 4 4 1 1 4 4 1 1 3 3
4 1 1
3 3 1 1 4 4 1 1 4 4 2 1 4 4 l i 4 4
+f f . fo o
2 3 0 0 1 1 2 4 0 0 l i 2 2 4 4 1 1 4 4 1 2 3 3
3 3 4 4 1 1 4 4 1 1 4 4 l
ÊÉ
l l 4 4 1 2 4 4 1 1 4 4 4 4 1 1 4 4 2 l 4 4 l i
M'1 r irO l a
f r i f2 4 4 2 2 4 4 1 1 4 4 1 2 3
4 2
3 3 2 1 1 4 4 1 1 4 4 1 1 2 o l
CN
ÍH--
M
ei
*~
«N---
•*
t)
?)
í )>
•* l- (
3O
0)M
'Õ
41X
Ul
1 --
1 '\ 1
(s,• et
H
~ "l
/ u\ i
u*--Í-.
u
( L
11
«
(i
> :
*~
•^
T
iX X'
L
•tf
W
t TH
1> ~f
1 -tf
T » TH
"1 oi . •?
l' «
TH
T
""»
11
i *
•tf
?>
...-
L - _
2
"Ç t
•
.£ 1
s
«ur u
<
\
%-1 L
c_it-
«U--W--1 -1 L
C
ti--c.
<
,u1,
>-( ' .s,f— t
f
, 1(
,1 L
'
V|
i
i
- 1
i
l-,U-
iT
i..ii^ii!:-
U .
1u.
« s
--a
rrtit iti 1111111 f í 11:i .fii.!.i.i 111111111 li itmiri 1111
60Fifths.
*»== p 1hf —p
\^
1=4=] H=iHHH=i1 4 O l l 2 1 4 4 1 1 4 4 1 1 3
v r r i•f 'e '
M f 1' — —r^9 — 1
=1P 1rnp — 1rf
1p
— F —p — l
d
3 4 4 2 2 4 4 1 1 2 4 i O 4 l
•h>L K 1 ,.
i 4
_J — fy —
1 4 0
f?
o 1
i ...
4 1 4
-p
0 1
F P~~ir^ — —1 2
-p-
.2 — 1
2 1
f-M —
1 4
r f— i —4 2
p r| !1 4
- =1••^ b — l —f p — i f P — 1 f 9 p
r rr:p |
— P —n 1—
— — i<9
\> ?
i — 1r 1
J "4 1 2 4 4 1 1 2 2 4 1 2 0 4 l
J ». 1 1 T
J' V v ò -r.=F=
o fl . '?• . P » £ r» £HM — 1 * — i — = — i — i '
l 4 1 4 4 1 1 4 4 1 1 4
-4): , 1^=^
É /0 r^ ^ -f2 19- « „h 11
H i H 1r-í h-F 1— 15 H "H h-p
1 P"V — 9
<
4 1 1 4 4 1 1 4 4 l 4 1 4 1 '
« r~~^ ^ ^ ^ « ^ ^ p - f ^ ^ ^ í t r --^v'i /* p — i —— ô- — i — • — — — i —H 1 H 1 — H — —H —H1 4 1 4 4 2 1 4 4 1 1 3 3 4 4 1 1 2
- i-4-(rf 19- „ , 4 1 2 4
• 1 _J Q 1 .| ,, 1— 1
h^— ' F — —d —5
J -P f 1 M rT
4 1 1 4 4 1 ! 2 4 1 4
II1 4 * 1 », 4 1 i 4 Í 1 4- ^ ^ ^ . ^ ^ g ^ f
L^ \» _i 3^
~* \> »» " / ^' K > r A
,, |
- J-*5
£f H —?j
rj
P
•*-TT— 1 »H —i — FM — •*" l H — \—-\ L— -\ —
^4- — 'n —
-i
4 i 1 4 1 4 'o l 1 4 4 2 2 4 4 1 1 4 4 2 1 3" h.R
r 1 4 4 i
-v-\r3 1 2 4 4 1 1 4 4 2 2 4 4 j l 3 4 1 4 1 1 4
f fl l '< 4 2 1 4 4 1 1 4 4 1 1 3
f | f f . f P-rf.f |f3 1 1 4 4 J 1 4 4 1 2 4 4 1 l
i i f , t i i r ; E v
^—=F
L
—
0
|| -
E
!É
E
— r
i
*-E
n — °~=4
—
r
J
i
t-l—3
•>. i— P-
i
^-
0 T
1
— J-
zf
E
l 1
l
—r=4=
íí
r
J
i — i— i
i— i —4=cJ
'i — L
i
-^
í
<
— si
l-e— i
J
*
•
\
V
' t— >-
l— 1d
*
t-rl-
^E•íi
i—e —
í t
•j (-
ie
^
~~p —
: tT
Nt
r
— i —77
t l| f j
sl-
*
ê —
~r\v-H^-
& l E
H41
t l
£• — t
t i
l—f1 J J
l t
^
1?
> — j—
j=é^
fr T
=*=*-
t=\
— i —^
T
'j
t
—H
^
0 l
^
-— -rí
t
*_J_L
i— P
4
t
-i
i
:=t
*—
\ ~
í.
n
-r;-
i
— r ~
-4—,4=t
t i
-j-í
0
t
^
t
^ —
ir
=d
i— rr
t
::_^=i_J_ = _
í i t t t
t - s * i
H— r ®
j I ' ? * ' ? 1
E t t i l
— íL_ ^ 5! —
— ' ^ — 1 Í" ~J — b — '
l t ^ 1
j à =t=*-é- v
1 ] , * \ J *_ ^ gl61 r
Z*' t
1 1 ~- E l l t
F^-==fí — r' — j"2^"^ ^^
l l t t E
à J ^J
t E E t t
~n — -— r^~— h' j ^ ' 4 * ' J
e i t
^ ' J J '
i t t
U J l J]
t 0 l v_j j j.
^E^ ;=Í
t E Z \. 1 1
:=±±=^=«
-J=F— — r: 1 T J i ft^-^'
fr * l '" l l| r- * A *J,_j_J — gj — L- pu — j T 1 p — --y ^ ft /-
t l E * l
! | j j ! ! — ! ^ , U -j
— r- — 1 — c — l 1 \ l — i — r<nt •()'• t i l ^ * 5 i 3
s l, l * * l j '
j t ^ t
> ~ | l l t t E l t t i I E
f rrt^ji :(
t i 1 0 t i * 1 li.
P ^~c f^ ~H — x ) •* tta /'9 — ^ :=- • — ' ! * f ffffl tC *?_l 1 — I 1 — 1 1 — j 1 — 1 ^f— p — s— ~
E t t i l t t E 1 81 1 1 1 1 0 n ~
i ^ il J jl J j- J _M i j n-f?^ ^ á ^ g ^ gt l ° t l t l l O
J l j J l 1 H j P I J r :> A./:1 ( ' f-* ' | ' ' if — fl — "X ' —
t i l t t i 1 81 1 e— i ti j —
j j1 J ^ ± é ^ é *'(ll E t t t 1 0
J J - J J ;U
t i l t t i l t 0 8
' J j ' ' ' j ' J jU j l j j^, J
0 t 1 I O * 1
K fil «J 1 " |l a»»
19
62
Exercise in Fifths.
nifl 2 l 4 1 4 2 3 2 4 l 4 1_
cantabile
â í4 1 4 1 4 1 4 1 4 1 4 1 4 2 4 1 4 1 4 1 0 1 4 1
crescendo4 1 3 2
« , Y * ™ ^ «• viu g 7^f > r f i r i M i f «r rir r r . if «r r á
VI
£M=M=P í/
4 2 4 4 i 4 2
I II
4 1 0 '„3
2 2 Ò 0 4 i 3 2 13
, f f f ir ,r~^ „ ^ ^ „ .p. v ^ _ £ *.t v d v — — r _jy f * ' — i — •—0
~r•j \-m-\M — —p • n —— i — i —\-n \ 1 PH — 5 l tF-i — tH-H — •—
diminuendo p cr esc.
Ê ícrN i r J r J////"
4 2 0 4
Tu r f r f f u r ^ r f f -^I-TC ' * ' u r r i r 1 ' '\ l 4 l l 4 "i ' l 4 lf j r j ur
1 4 1 4 Q 4cresc. sempre
^i ^
1 2 1m oito ares c.
2 3 3 1 4 1 4 2 4 1 . . . „diminvendo4 4 2 1 4
-Cyi» f 1>pa 1 r r» — i
— ? 4 1 r — .r i i+-é-iâim.
-F — =tl?=
w
—rrj 1r^-
42 1 2
r^" espress.
w — l• — i
1 4
-p 1
e ,rr — T — f~i-l ^ — j — i P — ,H
0 4 4 1 4
• 1
1 4
f "r., f i f rr^W-O '—O-
4 1 4 l 3 2 2 3 3 2 4 1 0 1 1 4 1 4 2 3 2 4 1 0
«if
Sixths.
Wben a succession of intervals which must be played across three strings occurs, the player will find thatthe passage can be played with less efTbrt, better clarity, and greater smoothness if the notes on thelower string are played up-bow. This is especially true in fast passages ; in fact, this applies even to asuccession of intervals on adjacent strings if rapidly moving notes are involved, as for example : —
63
V n<•).,* J P 1X l y fj | 1
2 1
i - r ir '4 2
'-1
f
4 1
p f
2 1
[Tf4 2
rí-.1 4
r-hii e 12 3
Hh1 3
r i f r i f f f ir ,. .r ,3 1 3 2 4 1 4 1 4 1 4 j *
4 V./'!>..<• | p-
d— 1 — '_ i °
Hil
4 2 0
3
4 1
"J —
0
i i r if-' l
2 1
¥=±=
k 2
I p~f — ' — í~r — ' —1 4 1 4
'J
1 4 1 4
h 1H ' —1 9 '
1 3
LL 11_) — i —
1 3
h. R-t^-. — r r-J-t~[ ' lH— r-i_i — | —F+=lP — lR=HP — 1FM^ — li r .. \v . \t —3 1 3 1 4 1 2 4 2 4 1
! ' fl9
^
r; |— s E-? —-r
4 2 '0 1 2 0 1 4 0 2 4:H=ò0 1
l ' l l I H H ' O ' O " O ' l l ' l ' L. U1 0 2 1 4 l 2 l 4 2 4 1 3 4 1 3 3 1 4 2 4 1 4 1 4 l 4 0 2 4 0 1
f r f ir f nf-e u—e-
1 4 1 4 1 4 1 4 1 3 3 1 4 1 4
y*^f
'L 12 4
r£- — 'H — i2
•J
4
rf 1— T —1 4
(9 1rJ
1 4
'j6
0 1 2 4
re
1 4ro i
-Mf ~i
fc):. i L ^ p -j — •*—-' v \> y / f- &
4 2 1 0
ty u f f p-p—j-^-js
- [> t»^ ' r-õ ' 1 i-3 1 3 1 4 1
1 2
-- , 2 P * f«ffJvkr <*, P f^=M-^ \>_i\y w r *
4 2 1 4
^ 1* D L 1 V 1 (5 1
-^-t- rtV \f 1 1 1 1 ( —2 4 1 4 2 4
j r p p i-" — i — P — i4 1 '3 1 2 1
' f ^ f . f1 J 1 »: 1—
4 2 4 1 4
f r^ f P f fp l M r i1 4 1 4 1 4 1
n 2 * X 1 41 v
1 19 j r. p —
2 '4 1 2 4 1
"M— r^H—r^ I I-~\ ' õ
4 1 4 1 4 2 1 3 1 3
4 r > 2 c 1 ! 2 4 1 2— r> õ ^ p 1— H P H " H ® UC J ri
1 2 4 1 4 0 1 2 4
f f P f ^r f r f^-+— H — 1 — H — =-jH — \— H — — H — f-H4 2 3 1 3 2 4 1 2 4
1 2 4 1
-f-p 1 — \~n 1 1 1 H 1 \H_ _ -— — -^ p j; — — :9—M- a LJ gj ' | jj ' " "-j "
2 4 1 o 4 j : j 4 4
v n l r ir? iíT i.-1
É3ÊÉl 0 4 1 0 2 l '„ l 4 1 4 1 2 1 3 2 1 3
r if nf i' l l V I If i I I d \1 4 1 4 1 4 2 4 l * O 1 2 0 1 4 0 l 2
fci:< r i., r i, f u- f ir f ir f if if .4 1 4 1 4 1 4 1 4 1 3 2 3 l
f r i r3 2 3 1 2 3 2 4 1 4
gtfi u.i r i J r i' r 1^ i ir ir- - ' -
r i í i2 1 4 1 '2 * 2 ! 4 1 4 1 3 2 1 3 1 3
r .f r .f P .f .. .fe^è3 1 3 1 4 1 4 2 4 1 4
l 4
4 1 . 4 1Q V ,-Q 1 r-í, i, , . „r P ir J ir j
1 4 1 2 4 0
•«• 4 ? -l /. 1 0 4 2 1 4 2 '4 2 1 4 1 0 4 2 1 4 2 ' t 4 i 4 1 4 1 4 1 4 1 35 ' 2
'/•fiiiy r r4 l
* ',,.ir3 1 2 3 1 4 2 4 2 4 l 4 1 4 1 2 4
v-v - r i. r2 1 2 1 l 2 1 4 2 4 1 1 4 l
f f i f n f p i f , ' i f1 2. 4 1 2 1 4 1
4 2 4 1 4 1 4 l * l 2 4 1 2 4 1 1 4 l 2
h.R
1 4 1 4 1 4 l 4 2 * 1 4 1 4 1 4
i ÊPi4 l 2 4 2 4 l 4 l '4 1 2 4 1 4 1 2 4
65
Exercise in Sixths.
41 4 2 1 - , 1 4 2 4 l 4 l 4 O l 4 'l 4 2 4 l 4 " 4 2
2 4 - 1 1 4 1 4 4 1 2 1 4 1 4 1 3 1 2 4 2 'l 4 1 4 O 2 4 l 2 4 1 2 4 1 4 ^ 4 2 1 4
l 2 '4 TPTI 4 0 1 4 2 4 4 2 t O 4 l ^ 4 1 4 1 4 2 4 2 2 4 1 4 2 4 2 l r~4 2 4 1
4 l 4 l 4 l 2 j
1 4 1 2 1 4 2 3 4 4 1 4 2 4 l O 4 7",. i 4 O l l 2 l 4
1 - ' ;»p . » P Í J ! . * a i iO 1 a 4 4 1 0 4 t O ! 4 2 4 2 4 1 0
l 4 2 4 1 4 l 4 'l 4 1 0 l l 4 l 'i l
Work to achieve the maximum in continuityand smoothness of sound.
l 4 2 4 l 4
Sevenths.l 4 t -j l 4 t /, ! 4 l 2 4 j 4 ^
j l i P "T i r' fetf
n
o o " o—»1 2 ' , ) 4 l i 2 4 0 1 3 3 3 3 4 0 2 1 4 4 l ' t 4 2 1 1 0 0
O O O l 4 4 1 2 . 0 4
':
4 O l 4 4 1 4 4
-4r-*-4
-±fa\
~ST~|r'\
rr-—\s *5
-\r^-
rtrr-4L-L
_
'
n
•,
V
—f}
TT
f1&-
o
crt¥-^-li
•/;-
4 0
P...
p-
2
-*q
1
-
4
x-j
1
t=
^-1
ii-4i
f=
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^4ii
t
í-
-H-0 4
1
•p-rp
f-^'o 4
£f
-) —
4
^rr11
,
r—
v
0
2
r>
^
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^9
4
f44
n
T
1
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4
- -j—
4
f-}-
4
.
77-4—-M2
4
=
-LjV1
f\-r-44 í
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0
T
|
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f-
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^--
-1-y —
«5
nf-1 r,4 4
^^
f-4—r
1 — «9
1 1
fli =f
•«—
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— r0 4
r —
p—
fV 1— 4-1— d-
gj
— — —
2 ^>
^
rj M
^i
P — l — (1 — J — 1
-TTT-~.s \f
n
, *' "
V
~
n •i
'—«y
4 1
T—U
1p — 1
4 4(9 — 1
1
-Li
1 i "
l r i p r .' T . ^-f f -hi — !— 4
4 í l 1 2 4 4 1 1 4 4 j 2 4 4 1 1 2 4
" V * * 1 1 4 2
f r if f if .. ir p , , l , , , , , •r .1 i r j u j ir1 1 4 4 2 i 4 4 1 1 4 4 2 l
V nt v d ^ — n>P (*,
iC rrt
T — 1ri — i-d —O 1 1 p 1^J — 1 —1 — F-i^=Mi — t-i^i J
r—f-^ -h1 i i r-hr i il 2 * l l 4 4 0 2 3 3
, f . e * p «^ „ . .M
* -F r^ H Q H _, , H 1H ^•~
«--
^ —& 1-T
4 0 1 1 4 4
y*"it i* *• — ip -f— À — -d d i p ' rj i i
> if F if . i f . ir .14 0 l l 4 4 ~ 0 4 4
r j i r l
0 1 2 1 4 4 o l 2 2 1 1 4 4 0 2 3
>M . \ \ — i7 — 'M
r? — ift=& —fí=^~~\f — i — i j — — f — ii — * p — ir ri
1 — e T;1 1 4 4 O l l 2
=*=¥ ^4 0 1 2 2 1 1 4 4
.
'/ t" p u f- i r P i r j2 1 4 4 1 1 2 2 2
2 4 4 l l 2 ^ 4 4 4 4 1 1 4 o l i
^4 4 1 1 4 4 í l 4 4 1 2 4 4
f P ,f4 4 4 l l 4 4 1 1 4
67
Exercise in Sevenths.
l 4 '0 4 2 1 1 1 4 0 1 1 4
0 1 4 2 ' l i 2 1 2 4 4 l 2 l 4 0 1 1 4 2 1 2 4 4 2 l
V nV n
4 2 l O 2 2 11 4 ^ 4 4
r r r r r r r «-»2 O l l Q 4 l 244 o l 2 4 1 1 0 4 1 2 4 4 0 1 2 1 221 3 3 1 0 2 2 1 1
VI
*. 11 4 •* A A 4 O A A A .. /, ' - 1 4 / • _ • « ' _ O S. «f A /• i. i O 1 K.
Ê4 0 1 1 4 2 1 2 4 4 2 1 4 ' 0 1 1 4 2 l O 2
• i , ,n*
4 1 4 4 4 l 2 1 4 1 2
4 1 4 2 l O 4 4 1 4 l 4 4 o 4 1 O 2 4 1
Octaves.
0 4 1 4 1
1 4 'i 4 1 4 1 4 1 3 3 1 4 1 4 1 4 't 4 1 4 1 1 0 4 l l
m PP51 4 4 0 0 2 1 4 1 4 l 4 1 4 1 4
f..f.f!.f...f. aãr ' i r r r f i
n.in.-fV^Vai££1 lrj IP l II l ri rj l1 t iÍ«=E4 2 1 2 4
nh.P. „ .o.
uri.iri,fi,.f^1 4 1 4
V n V n
4 1 3 1 3 3 1 3 l
^
f , f . f , ,-gl a l f^ l P l
l
^^*== 4 1 4 1 4
fnf .ir,i irí ^N4 1 4 t
' 1 "4 O l
n V n yO . l (J , l *=7| T
" /. /. «4 i 4 0 4 1
r ' N ' u i 1.1 r u1
' 1 f . - I Q - I Q * ? • ! * * • < A < I1 4 1 3 1 3 3 1 3 1 4 1O O
j ri j i u' N73_ ^ 4 0 1
h.R
<•• j&
r..fi,.fi,fnl>if,.ifl 4 l 4
i r » i|" ir1 li1 ri1 ri1 ri' .1 n J ir.i i' '
Exercise i n Octaves.
*ÍH
40 l 41 4 1 1 0 o
l
l 4 1 4 1 l 41 l 4 i
r» ..^.—r . \"r M
4 1 4 1 4 1 4 1 'l 4o l 4 1 3 1 4 1 4 1 4 1 4 l 4 l 4 Q 4 l * 1 4 1 4 i 4
1 4 1 4 1 4~4 l 4 o l l * l 4 O l l 4 o l l * Õ l * 4
1 4 4 1 1 4 l 0 O 1 4 2 4 1 l 41 4 4 1 2 3 2 4 0 1 4 1 4 1 4
1 0 1 l 4 1 l 4 4 i O l 4 1 4 2 4 0 4 1 4 1 4 l 4 l 4 i l 4 2 4 S
4 1 2 l 4 1 1 1 1 4 1 4 1 1 4 1 4 0 1 1 4 1 4 i 4 1 4 1 4 1 3 1 3 o
69
Chromatic Scales.
At first practice these scales slowly with separate bows ; then increase the speed and add the slurs. At ali timeswork for precise intonation and clean articulation of the left hand.
etc.
C major Í
1 2 1 2 4 2 1 2 1 0 4 4 2 1 0 4 2
F major ~*7
1 1 ~ 2o : í
r v r ifr f *f4 0 1 1 2 4 0 1 1 2 4 1 2 4 1 2
f T f ff rr r Sr r " r r4 4 2 1 4 2 1 4 2 1 0 4 4 2 1 0 4 4 2 1 4 2
B flat maj
1 1 2 4r'O l l
r i r rr r2 40 l 2 4 2 1 0 4 4 2 1 0 4 4 2
E Hat maj r r r f r r^rf |f rrr fr r"r0 1 2 1 2 4 1 2 4 2 1 4 B 1 2 1 0 4 4 2
A flat major 6): l H 1> -^•'S V \) V "•
4 0 1 1 2 4 0 1 1 2 4 0 1 1 2 4 1 2 4 1 2 4 1 2
3 3 2 1 4 2 1 4 2 1 4 2 1 0 4 4 4 2 1 0 4
D
4 0 1 1 2 4 0 1 2 4 1 2 4 2 1 4 2 1 0 4 4 2 1 0 4
G flat maj
1 2 4 0 0 1 1 2 1 2 4 1 2 4 1 2
4 2 1 4 2 1 4 2 1 2 1 0 4 4 2 1rr !Tf»rJ|JtiJ^^
0 4 4 2 1 0 4 2
3020
70
B major _W|j,. (*
1 2 4 0 2 4 0 1 1 2 4 4 2 1 0 4 4 2 1 0 4 2 l
<• .«U *-xJ .J J Ipllp rxrE major
1 l 2 4 l i 2 4 O l 2 4 l 2 4 l 2~
f r r fr r4 3 1 4 2 1 4 2 1 0 4 4 2 l O 4 4 2 1 0 * 4 jj 7
«r **'A -naio,
0 1 1 2 4 0 1 1 2 4 ° l 2 1 2 4 1 2 4 1 2 4 1 2
ítec te s h~3 2 í 4 2 l 4 2 l 4 2 l 2 l O 4 4 o l n 4 4 2 í
D major Ê FTi»
O l 1 2 4 0 1 1 2 4 1 2 4 4 2 1 4 2 1 0 4 4 2 1
G major fcj-
2 ^ 4 0 1 1 2 4 0 1 1 2 * 0 1 2 4 1 2 4 1 2 4 1 2
tf^ta3 2 1 4 2 1 4 2 1 4 2 1 0 4 4 2 1 0 4 * 2 1 0 4
Exercise for Overcoming the Resistance of the E String.Play this exercise entirely on the E String. Practice it slowly at first, then increase the speed. In order to derivethe maximum benefit from this exercise, it should be played with good articulation, keeping the bow firmlypressed on the string ; and as sustained, as strongly, and with as much bow as possible.
V II h. P. I IV I
u JJ.IJ J,J* \ l 241
» íi*=*ff~ *\ \2 4 2 1 4 2 1 2 ' 1 ' 1 4 1 4 1 4 1
Two Shifting Exercises.
Play this exercise slowly on the G String, making the second half of each measure sound as smooth as the firsttwo beats.
a íVf- m~T^
£4=^
1 2 1 2 2 4 2 4 2 1 2 1 4 2 4 2 1 4 1 4 1 4 1 4 4 1
ÉTN L - '
4 l
têm fftr.*P ^f,ff3 1 3 1 4 2 4 2 3 2 3 2 l 1 1 4 4 4 2 2 2 3 3 4
In this exercise endeavor to have the combination ofshifting and string crossing not interfere with the legato.
,~ > £ £r r if r f ^ *r r r r ui> j f i rí4 4 2 4 2 i 4 i 4 1 2 1 4 1 4 1 4 2 1 2 o l 2 3
Exercise in Ali of the Major and Minor Keys.
When a dot is placed above or below a note, it signifies that this note is not to be held for its full value,but isto be separated from the following note. The term used to describe this manner of playing is staccato.
71
t r f f f i r r r f ^l 2 2 1 4 1 1 2 1 3 1 4 2 4 2 4 1 4
l 4 1 4 1 . 42 3 ° 4 2 4 l 4 l
2 4 1 4 2
4 1 2 1 2 1 2 1 2 1 3 1 4 2 4 2 4 2 4 1 4l 2
f r r f f r f f | f f f f f f r f i f j0 1 2 1 4 1 1 2 1 3 1 4 2 4 2 4 1 2
1 4 O 1 1 4 . 'l 4 2
1 1 4 2 4 1 1 2 1 2 1 ° 4 1 4 2 3 2 4 1 4 1 4O
l 2 1 2 1 2 1 2 1 " 4 1 4 2 3 2 4 1 4 1 4 1 0 4
l 2 ~ j 4 ( l l 4 1 2 1 4 2 3 « 4 1 4 2 4 1 0 4 1 4 4 Í 4
2 4 l 4 1 4 2 4 . 1 4 2 4 1 0 4 1 4 4 1 4 ' •-—_ o \ * l
1 2 4 1 4 1 2 1 2 1 4 1 4 1 3 1 4 1 4 4 2 2 4 1 4 * l
a 4 l 4 O l 2 1 2 1 1 4 2 1 4 l 43020
72
o . 2 44 1 4 .
. ? * ! , 2_~4 l? l
' ? 1 áuJ. h'- I h-P-
4 2
l 2 4 1 1 4 2 4 2 1 1 2 1 2 2 4 2 1 4 1 3 1 4 1 4 1 4 1 4 4 1
l 4 1 1 4 1 2 4 2 4 1 4 1 2 4 1 3 1 4 2 4 2 4 1 4 1 4
4 1 1 4 1 4 0 1 4 1 4 1 4 2 3 1 4 2 4 1 4 l 4 g*"" 4 2 i i
4 1 l 4 1 2 1 4 2 4 2 4 1 2 1 4 2 1 4 " "
4 1 4 1 2 1 2 1 2 1 1 4 2 3 2 4 1 4 4 2 4 1 2 1 4
l l 4 1 2 1 4 2 3 3 1 4 1 4 1 2 1 4 1
4 l 2 4
WiffrTffJLf4 1 2 4 1 1 4 1 4 2 4 4 1 4 1 2 1 4 1
g061 4 1 4 1 3 1 4 1 4 1 4 2
1 2 1 4 2 O 4 1
•flf ttr . f 'ifTf .i
1 4 1 2 4 1 3 0 4 2 4 2 4 1 4 1 4
PART IV.
Various Examples and Combinations of Bowings.
73
1 4 1 2 4 1 3 1 4 2 2 l 4 2 1 4 1
4 2 1 1 4 4 1 1 0 1 1 2 2 0 4 1 4 1 4 1 2 4 2 12 1 2 2 4 1 2
4 1 2 4 2 4 4 1 2 1 1 2 4 1 4 t O 1 2 2 4 4 1 ^., l 2 4 4 1 ^
Practice this exercise with the following bowings :
e/c.
eíe.
8
eíc.
eíc. -f
e/c.
etc.
etc.
ctc.
23*
e/c.
30 n Vn V. n V /—
/"<»»</ ma reato ( At the frog. )
*lift the bow after piaying the staccato eighth note
3020
l 4 2 1 1 4 2 4 4 1 2 1 2 2 0 4 1 4 2 4 4 1 4 2 4 0 1 4 1 4 1 2 4 2 1 4 2 1
urrfffffrç0 1 1 4 1 4 1 2 4 4 l
To be practiced with the following bowings :
ele.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
The remainder of Part IV will present examples which deal with various problems of bowing. Certainly one otthe most frequently encountered of situations arises when notes of considerably unequal duration occur withinthe same measure or beat. In many cases, the most convenient manner to handle such a situation is to jointhe shorter note (or notes) mto the samebow as the preceding longer note. * However, the result is not to beconfused with legato playing, and such notes should have the same type of separation as if thev were playedwith separate bows. ^^
nn_ y.?-.V ,~-v i.J ir
znd time )}l 2 4 1 . 2 4 1 2 4 1 4 1 4 1 l 4 1 1 1 4 1
4 l~ff
4 l 2 ld i m.
4 l
v
4 1 1 2 l l <2) 4 2 1crexc- f
l £ nrurirPrusn^ -99 4 1 0 4
For example, note the exercise on page 57. It would be very awkward to play this exercise without the indicated
A clear distinction should bs made between the preceding and the following exercise by carefully observine therest in each measure. In such passages as are found in the following example, i t i s generaliy advisable to "playthe softer sections somewhat on the staccato side and to lengthen the noies in proportion to the increase indynamics, but never to play a note longer than its written value, no matter how great the volume.
n _ V n^.V n ly ^JV etc.
75
ir i J w iii J1 vp2. ±p 4 1 1 4 1
cresc.r f / O T . 2 1 4 p Z crcsc_
^4 2 4cresc.
l 2 1
4 l
3E?é 'V\i i f
fz4 1 4 1 4 1 4 1 4 1 4 0 2 0 4 l
f
dim.
ím «'O
PP
ytf 2 4 4 2 4 1 0 2
4 4 1 2 0 4 1 1 4 2 1 2 2 1 2 4 2 1 4 1 2 2 4 2 1 2 2 1 4 1 4 1 4
1 1 4 1 4 1 4 1 2 1 41 2 1
4.
v —-. V n
" 4 4 1 4 4 1 2 4 4 1 4 1 4 1 4 4 4 . 1 4 4 1 4 1 4 4 1 2 1 2 1 4
etc.
LjTrrrrjrr4 4 1 4 2 1 2 1 4 4 1 1 0 1 2 4 4 2 1 2 1 0 2 1 O
76
4 1 4 4
,/í
n v n v ru v .— íí±rr±i i • * ^* ___m
1 ~ 2 4 l 4 1 2 1 1 4 2 4 1 1 2 4
4 1 4 2 4 1 4 2 4
In the examples presented só far, the notes which are joined in the same bow occur, for the most part, on thedown-bow : however. this can be done as readily on the up-bow. It is extremely comrnon to place two adjacentnotes of unequal duration together in either a down or up-bow, providing íhat the shorter of the two notes fol-io ws the longer one.
.V, n V-, ^ •--: n v V_ n v v
6.
9. ãE||
Frequently, notes which are separated by two or more beats may be connected with the same bow.
iêá 10. ' ~ <• p f^
2 1 4 14 'Q 2
The joining of notes may occur at any place within the measure, within any segment of the beat, or over thebar line.
-o-
"
11.4
n
l 2l 2
77It is frequently a very useful practice to group notes of the same length in one bow.
n v IUn_ f . ^ n V n -, v
n nV > ^5- n n v•*»• v
£±*
Y Y
More than two notes may be joined in the same bow
H.—.. -;—x « y « VLento
=- wAlso note the sugges'.edalternate bowing for theD Minor exercise onpp. 48-49.
18
However,when a greater degree of volume is called for, the player may be required to discard the grouping of notesin the same bow in order to produce a sufficient amount of tone.
In determining a bowing for a passage. give careful consideration to where accented notes occur, since it is highlydesirable to play such notes down-bow.
n v p ^_ ctc v
~~ ~~" " ' n20.: l
È7v—-_
f/C.
rAlso, tempo is another consideration in deciding upon a bowing, for in a slow tempo it will not always be feasibleto play a number of notes in the same bow if the sound is to be properly sustained. Thus volume, accentuation,and tempo are among the factors which influence the choice of a bowing for any one passage. Any general sug-gestions must be-tempereci by considerations of the individual passage and the personal preferences of the player.The following exercises are presented to acquaint the student with a number of problems concerning bowingwhich he is likely to encounter, and to suggest methods of dealing with these situations.
V n V n V n V n
l 4 0 1 4 2 4 2 0 4 1 4
2 O
The above bowing is quite useful in a fairly rapid tempo if a light sound is required ; for a slouer tempo anda larger amount of tone, bow such a passage as follows :
n v "D l n X •!» V f- Z n » n V T V n V
3. etc.
Practice this next exampie as an exercise in retrieving the bow. Play it slowly, and get back to the frog on thesecond beat with as little break in sound as possible.
n v _ _ . . _ . _ _ .* _ VIn 2. Y n n v n n vA .&• * ÍÊ l/
4 l 1 4 1 2 1 2 1 2 1
i êÉÉê ê0 4 4 1 4 1 4 1 4 1 4 2 4 1 2 1 1 4 2 1 0 1 43
More commonly one of the following two bowings would be used, depending upon whether the player wishesto stress the first or second beat.
n ._5.
p .u --7._ | |,>i 1 (7
ny nv
v nv yn1 4 2 4 4 1 4 4 1 ±TTn 1 2 1 1 4 PIV 2 1^ ^ l ' l ^ * i _ n
V n v n v" etc. 0 1 2 0 2
4 4 2 0 4
79
V n - '. *_ • i n i s o l «> •'< . a
11i 4 t
fl o
3t '» 1 i a 1 'i i 'i l 4
i
Til — 1o
1 1-f~P~i 1
=7-|rf~i4 1 1
"Tl4 4
£
1
r*~
.
fr-)1
f~
'in
't
P^—
4
T-/ »• * .=H=1 4 1
r^pi™.
/i iT — hr ff
4 a '
1
1 4 1
S!-ri —
t=>4 0 H
n n
't •• i 1 a i 4 a s .,
'• i
14.
v
ÉlÊl 2 * L 2 - / l 4
V/-i"V n V/^-21 n v .
1 1 1 4 1 4 1 1 4 1 4 2 3
15
i•i i 4 1 4 l
* At those places which are marked with an asterisk, and at similar places, return to the lower half of the bowafter playing the long note. This applies even if no rest is indicated ; in order to assure propjr placement of thebow and satisfactory articulation of the short notes, they must be played close to the frog.
** Here it is not necessary to return to the frog ; however, in order to avoid an accent on the eighth note, play itcm*all nmrumt r»f
81
16.foz 4 0 1 4 4 1 4 4 2 1 2 4 0 1 4
1 1 4 1 4 2 « 4 4 1 2 4 4 1 0 4 4 1 2 4 1 0
0 4 0 1 4 1 1 2 1 4 1 4 4 2 1 1 4 1 0 4 4 1 2 4 1 2
2 1 4 1 4 1 4 1 4 4 1 2 1 1 4 4 2 1 2 2 4 4 1 4 1 4 4 1 4 1 0
1 4 2 1 0 1 4 4 l 2 4 4 1 t
1 4 0 2 4
Andante V n v
17.
1 4 1 0 1
82
Moderato
cresc.
l 4
V n
Pl 4
Andante
„ 2 4 2 l 2 1 /i ,
4 1 4 l 4 2 t 2 4 2 4 •_; /(4 1 4 1 4 2 1 1 2 4 1 4 2
^
V A ' l
2 4 1cresc.
1 4 1 1 2 4 2 2dl W.
l k PP
3020
83
_r—. n v n v,
4 2 1 4 2 4 2 4 1 2 0 ^ - 4
i a i 2 a ! J i 4 / ? 4 2 i a i 4 a 4 1 1 4 4 1•* «^ j,'»,.
2 0 1dim. P 4 1 ' 2 4 1
21.
2 0 0 4 1 1 4 0 4 1 2 4
1 2 2 4 1 1 4cresc. sempre
f . r r f .f ff. f
84
i
PART V.
Supplementary Bowing Techniques, Ornaments, and Orchestral Effects.
Spiccato.
When playing spiccato (also known as saltando, saltato, off the string, or bouncing bow), the bow momentarilyleaves the string between each note. Spiccato is one of the most frequently used strokes ; rapid passages whichare meant to sound staccato are commonly played spiccato, for the speed at which staccáto can be played withoutleaving the string is very limited.
A wide range of gradations ofdynamics and of intensity of attackarepossible in spiccato, and the player should beable to vary the shortness and sharpness of his strokes to fit the requirements of the music. If an increase in vol-ume and accentuation is called for, it is necessary to play closer to the frog.
It is suggested that the following exercises be played close to the frog, quite strongly accented, and each noteextremely short. This type of practice will not only aid in the development of a solid and well-controlledspiccato, but will also be of great help in improving the precision and firmness of the player's attack.
Ymmr mmrr mrmT3
etc.•3—
êÊÉ
« êí ,í Ij' f U
1 4 1 2 4 1 3 1 4 2 4 2 2 1 4 2 1 2 2 4 1
4 1 2 1 1 4 1 0 1 2 4 4 4 1
3. m m--.m-—f ff^ ^ T ^2 4 2 0 l
4.
3020
4 1 3 4 4 1 1 4
85
1 4 1 4 4 l 4 4 1 2
l 4
At first, practice the following exercise fairly slowly and with short, detached strokes ; then gradually increasethe speed, and play it spiccato.
6. ÍH!
rrrmiFFfftr"
30201 0 4
86Ricochet.
Ricochet bowing is also known by the names of jeté, saltato, or saltando. Unfortunately, thisresults in some confusion, since the last two are more commonly used as synonyms for spiccato.
Ricocheí is done with a throwing motion at the tip of the bow, Jceeping the pressure of the thumb(with the German bow) or the first finger (in the case of the French bow) quite firm on the stick, which resultsin the bow rebounding two or three times during each stroke. This is not a bowing that is frequently calledfor; it is suited for passages requiring a small number of iight, rapid repetitions of the same note, such as thefollowing :
v n_n rrrrrrrrrrrl•!••• • • m » m
•&.
U:>tff|J/2 • •i M.
x- s~ *~
1•l
•-•,
•-i^~
Pi— "-
•-i.s~— •» s~— -* ^-
,-— "V
N
=
•^
T~ij — CI~
n -í V 3 n 3
m mmmm mm»
Allegro vivaceni _
From the Overture to William Tell, by Rossini
_ _ V n_ V nV n VnV nV3.
W(atlhetip) J^íatthefrog)
nV nrvmiiwmiimiimmmxíw IM^BBIBBBBB • mr r r y 'LU y '*
(at the íip)Portato.
Portato (louré) might be described as lying halfway between legato and staccato.It consists of several detached notes being played in the same bow.
r r r r r r r f r r r r r r r r i f r r r f f f f f
87
5.
Moderato
From the Symphony No. 4 by Gustav Mahler.
^-L^ , - -. nVnV
pp leggicro
Portato is not to be confused with another manner of playing detached notes in one bow, which is known asstaccato bowing (a rather unfortunate situation, since staccato is also a generic term, covering ali types of shortnotes). In this specific instance, staccato bowing refers to a large number of detached, short notes, played veryrapidly in a single bow. This is a bowing which is not used in the orchestra, but is part of the equipment ofthe virtuoso soloist, especially if he is a violinist. It is extremely rare to see this bowing done on the 'cello orviola, not to mention the string bass.
A really thorough cataloging of bowings would include such terms asdetaché, lance, fouetié,martele, collé, sau-tillé,andflying staccato. For the most part.these can be described as subdivisions of the basic detached and stac-calo strokes.based upon variations in the length of the stroke and the manner and intensity of the attack. It isnot necessary for the String Bass player to be concerned with subtleties of terminology, but the basic strokesdetached (detaché), staccato, spiccato, and portato — should be practiced with different stroke lengths and withvarious degrees of accent in the attack, só that the variety of bow strokes at his command will be comparableto what is expected from players of others string instruments.
Also, these strokes should be practiced in different parts of the bow ; if a short, marked stroke is played at thefrog, it will not be the same as when done at the tip, and each hás its own uses.
88 Grace Notes.Grace notes are indicated by small notes placed immediately before the notes which they are meant to orna-ment. If the stem of a grace note is crossed by a small line, it is played very quickly and on the beat.
From The Nutcracker, Act I, by Tchaikovsky.
Allegro vivo
Notation :
To be played :
f -ff f f
1 2 1 4 1 4 2 4
f «f f f f ..
f f f ,,From Das Rheingold, Scene I, by Wagner.
• Líi • >L- íí •Notation :
To be played :
JVT- JU-T^ ip c r es c.
ff
éfíf
l 2 •i 4
Veryfrequently in Eighteenth Century music one encounters grace notes which do not have crossed stems andwhich are not meant to be played quickly. Scholars will often argue about the exact interpretation of such notes,but in general it can be said that long grace notes usually occupy one-half of the value of the note which theyniodify, or two-thirds of the value if the principal note is dotted.
Notation :
To be played :
3020
89
A group of grace notes preceding a note is known as a gruppeito, and is played before the beat.
Notation :
r»-*
One or more grace notes may occur after a note (most commonly when the principal note appears with a trill).In such cases, the ornament is called an after-beat or after-turn (German : Nachschlag). The time required toplay these notes is taken away from the note which they foilow :
Notation : /
To be played :
mtur n.
W,W
Ms
1 4 1 42 4 l 2 4 1 3
4 l 2 .T 4 l 4 2 l 2 '.S 2 4 1 2 3 4 1 4 1 !; >t 4 4 l O
90The Mordent.
The Mordem is played on the beat,very quickly, and can ornament the principal note with eithet the upper or lowerneighboring tone. In the latter case, the symbol for the mordent is crossed with a small vertical line.
Notation :
To be played :
l 4 l 1 4 1 a 42 4 2 1 2 4 1 4 1 2 4
-Mv'•W 'W -W
4 2 4 4 4 2 4 4 2
-w /w /w
0 1 1 4 2 4 2 1 1 1 1 1 4 4 1 4 1 4 1 2 1 4 4 2 4 l
iiá;^
m3: :t
1 1 2 2 4 1 2 1 1 1 'j l l
* An accidental placed above or below the mordent sign refers to the auxiliary note.
l 2 1 4 2 1 2 1
1 2 4 4 1 4 4 4 1 4 4 2 4 2 1
1 2 4 2 1 2 1 2 4 1 l 4
1 4 l 2 4 2 1 2
91
The Turn.
Following are examples of the more common forms which the Turn, rarely occuring in music for the StringBass,maytake.An accidental placed above the symbol refers to the top note of the turn;an accidental belowthe sign applies to the bottom note.
Noution
2 l o i
rr r* — l
i /* liy Vv
(
í»
„ — —
Si
rm-•-
OS5* J-
,--—
•ft
9
,
t—
1
i
£=±=-
1 4 1
-— ~.
2 4
?; J
^— —
t
^-
-
' .
^>
fj y • =
-— ^ -,
\ 1
— -——- p
J_
From the Serenade, K. 525 (£//ie Âr/eme Nachtmusik), by Mozart.
Andante
-i4fr- p~ "
:_k-2 !l
IJ/ ^^ ' -
t- ^ Í
v n .3
^ u i, j j d • y í
=*=!
L__
— u>*Jvi
I
»—
í
r -v * —
i— y — —
^ — g«, —• ^_
•i— - ,
p ./ L í:
-/ ' r
The student should be aware of the fact that universal agreernent on the manner of execution of ornaments doesnot exist. For example, the Mozart extract which was just quoted is frequently played as follows :
ate.
92 The Trill.
Trills are played with either the whole or half step above the principal note according to the dictates of the keysignature, unless an accidental is written above the trill sign, altering the upper note of the trill. As a rule, trillscommence with the lower note, with two exceptions : 1. If a grace note precedes a trill, it is to be played as thefirst note of the trill ; and 2. In the music of the Baroque period, trills ordinarily begin with the upper note. A trillover a long note will frequently sound smoother if the beginning of the trill is played somewhat below full speed .
The trill can be done only with the fingers, or it can be played with an arm motion, holding the fingers quite stifFand using the thumb as a pivotal point. The arm trill (also known as tha " vibrato trill, " since the motion in -volved is só close to that used to produce the vibrato) is most useful with trills from the second to fourth orfirst to fourth finger ( especially the fornier ) ; less useful with trills from the first to second finger •
Practice this exercise, designed to develop the trill, without vibrato ; play the sixty-fourth notes with a rapid,snappy movement of the left hand.
Also practice the exercise on the lower strings.
A ±S
')' i ' ii r7*?"/"
JrM4
r^fi2n<{ time: pOCO flCC
R *í:/ +
~— —
ET77? ^
-«r-1
fe
-á"
1
2níí í/me.- poço accel.s*-
r *")'•<* —t y (y
2
>>: IL rlFnf r-f r^ '^/4-_g — g — g_-q-
"V
4
--H-
p-
<>
pTT7-|
f^-=1-
4
— 9^-
M— =
ti—V-
^-f-H-
"TT11» P...=t=
• -^
f±.!-4--
•^-f—^
TTU
f=Fá=b
^=^H —
-4-
^»^
f^
-ii
P-T=-
J=
~-
^
=3-
-4-
• ^—
• , (T
=f&
4
j-il
f-
• f f- f o- F f- t^H--3--d• > p.» p-ff
ffffiU i ' — 1 I I — l l l l rn
3 3
• -•
•
3
P !•- |» f
rFrV r
r v-|i» P- f
0 mm - <
m
^=f P
•
— |o *
>P. o""^fr.f n_J 1 J
CN
H i ~
^fcn—3 — g — i===a^<oT*f
H-Lj f r f r r r r r ^
i — i et: ~=t:rfi V > — nd 1 — j —2mí fime: pOCO J 5
* During a lengthy trill the student should feel free to change the bow whenever necessary.
Practice the three parts of the exercise one-half step higher each day, until this levei is reached :
CA £...3Tj|...:z£...:r£...]
l 3
B
e te. ^Bm et c.2 3
i.
2.
2 4 a 12 447^,, 2 t* i 41 4 l 114 2 H 4 1 4 4 1 11 4 1 4 1 4 2 12 l 242 14 ^ 01 '0
f ijl.3.
93
1 4 , * 14 £T4 l 4 rr, '., 14 0 2 4 2 O 4 'i O l
l 1 4 4 1 4 1 4 l 1 4 1 1 4 2 4 4 1 2 1 0 1 2 1 4 1 4 2 1 4 1
2 1 4 1 2 4 4 1 2 1 2 1 4 1 1 1 4 1 2 1 0 1 1 4 1 1 1 4 2 1 0
4 ~~ 1 4 1O l
rrrrrrrrrrrrrrrrrrmt^^-4 l 1 4 2 l 2
ffff....frfrfrfffrfrfffrfrffirfifl 4
/r.
M, rrrrfrrrrrfrrrrrrrrnf f TF ,, irrrrrrrrrrrrrrrrrrrrircr-l 4
rrrrrrrrrrrrrrrrrrr//rQ''
4 l l 4
-érI*5ÍT *^-m-*
l 1 V
Tremolo.Tremolo is a quivering motion of the bow, done with the wrist, as rapidty as possible, and in the upper half ofthe bow. However, for greater volume, it is often necessary to play closer to the frog.
Andante
1 2 4
The traditional manner of notating tremolo is to cross the stems of half and quarter notes three times, and the stemsof eights and sixteenths twice. However, the student should be aware that this notation does not always indicatetremolo;quite often,especially in the slow movementsof Beethoven,Mozart,and Haydn,the triple-crossed stemsdenote accurately measured thirty-second notes.From the Symplwny No. 4 by Beethoven.
Adagioet c.
V tf tf tfV rfrf *f*fsf pp
Quite frequently composers call for a rapid, measured reiteration of each note in a passage, most commonlyrepeating each note two or four timss. This requires a motion very similar to that for the tremolo. but it mustbe carefully controlled.
From Parsifal, opening of Act II, by Wagner.
Heftig, doch nie ubereilt (Vehemently, but not too fast)
l 2 4 l 2 2 4 1(tim.
VivaceFrom Orpheus and Eurydice Act II, (also in the Don Juan Ballet Music) by Gluck. 95
2. f f f ,f fl •'! 1 g 4 l 2 4
2 4 2 1 4 2 1 2 4 2 1 2
Pizzicato.A considerable amount of facility in pizzicato can be achieved by learning to play alternately with the first andsecond finger of -lhe right hand during rapid passages. This can be practiced by playing scales, exercises, andeludes pizzicato, and the eflbrt which is required to develop this technique will be generously compensated bythe ease with which fast pizzicato passages will be negotiated. Also, playing pizzicato in this manner greatlymitigates the difficulties of string crossing, often making it possible to use fingerings which would be far lesspractical if the passage were played with the bow. Unfortunately, the player who uses the French bow will find itvery difficult to use the two fingers alternately without putting the bow down ; otherwise the weight of the stickresting against the first finger while playing pizzicato will interfere with the independem use of that finger. Thereturn to ihe use of the bow is indicated by the word arco (sometimes Bogen in German publications). Thesymbol d, indicates that-the string is to be allowed to rebound against the fingerboard with a percussive snappingsound. This is encountered in the music of Bartok and other contemporary com^sers ; unfortunately, thisis also the symbol which one uses for the thumb when fingering passages in thumb position. Occasionally across (+) may be seen above or below a note. This denotes pizzicato with the left hand, and ismost usefulwith an open string when a quick change from arco to pizzicato or vice versa is involved.
pizz.
1.1 2 1 4 1 2 3 1 4 1 2 1 4 1 2 4 4 4
1 1 4 4 0 21 2 1 1 4 0 4 2 4 1 4 0 4 1
lo i " — i * l o f— a 4 o' Alternating two fingers in Pizzicato can be compared to up and down-bow— the l st finger being used on the beatthe second off the beat. Similarly, during these four bars, since the lower note is almost always on the beat, ré-verse the procedure, só that the second finger is used on the beat, as the up-bow would be used if the passagewere to be played arco.
2.2 1 2 0 4 2
1 4 1 4 2 1 1 4 1 'i 4 4 2 4 2 4 1 0 1 4 1 4 0 1 1 4 1 4 1
1 4 1 4 1 4 1 2 1 1 4 1 4 1
96
From the Symphony -No. 4, by Tchaikovsky.
Allcg-ro
Col Legno.Col legno normally means that the strings are to be struck with the stick of the bow. However, occasionallythe player will be directed to draw the bow across the string with the wood instead of the hair. This is to befound most often in the music of Schoenberg and his school, where it is indicated by the marking col legnogestrichen. In order to produce any sound at ali with this effect, the stick must be pressed firmly into the string,and a larger amount of bow than normal must be used on each stroke. When playing col legno it is necessaryto twist the bow towards the player só that the wood com;s in contact with the string. This is done much moreeasily with the French bow than with the Gsrman. In the latter case, it is suggested that while turning the bowtowards you, slide the thumb from the top of the stick onto the frog. With either bow, play col legno at the tipfor maximum facility and control. The return to the normal use of the bow is denoted with the marking arco.
From Salome by R. Strauss.Sehr schnell
F J K r K r ^$ itcol legnoiQPFrom .Dm' Orchesterstucke byAlban Berg.
fcol legno gestrichen
Glissando.Glissando or parlamento signifies an audible sliding between notes, indicated by either a straight or wavy linebetween the notes which are to be connected by a slide. Ideally a glissando should be done on one string, butthere are times when this is not possible, and it is up to the player to do his best to give the impression ofa continuous slide. If a glissando is marked after a long note. it is usually played towards the end of the note,but in the absence of directions to the contrary from the composer, the performer can extcnd the slide to lastfor the entire duration of the note.
From Ein Heldenleben, by R. Strauss.Etwás ruhio-er
P
From the Symphony No. 4 by Mahler.
Ruhevoll (foco Adagiai
97
Ponticello.
Ponticello or sul ponticello (German : am Steg ; French : sur lê chevalef) indicates that the bow should be movedas near to the bridge as possible, resulting in a nasal, abrasive tone. Especially in the lower register, ponticelloplayíng will often cause the fundamental tone to be lost, almost causing the pitch to sound an octave higherthan what is being played. The return to a normal manner of playing is indicated by the term naturel.
From En Saga, by Sibelius.
• 1
1 g
h J
>
_^_ - -Í-T^r r * N - --Jr
f t t 1 > 'l~> > t . 1- * * * tai* , H*
" T n ' l-&m * * r r r
1 ~ \ i T
11 — - rnJ ; J f -•r '
sul ponticello
0:.l, t f. j t í-./ \f\j — m. lt h» •^•L=f
* "i* ^'id
^ í Í M— • — • — t*i ,< (
^
1 J j. , — t. » • f - ^ • ^~•^ • J T ^ j. : rT S H1 4 1 4 1
v i >>• •»p f f i p f rTTf i'Tl í T * f * * lí 'T * " -Hyt; li., fy f i rf fffr Wr f» f j «r l
2 4 0 2 ^ 4 4 1 4 4 2 1 4 1 4 2
Ponticello is usually not encountered in sustained or legato passages, but occurs most commonly in conjunctionwith tremolo or rapidly repeated notes, as in the Sibelius excerpt just quoted. However, there are timeswhen composers will call for ponticello on longer notes. The following passage is from Verklaerte Nacht, bySchoenberg. In the original version, for string sextet, ali parts are marked sul tasto (see below) at this point,but in his arrangement for string orchestra, Schoenberg revised this marking to ponticello.
Etwas ^-edchnt
etc
pontieello P)J P
Í
Sul tasto (German : am Griffbreit; French : Sur Ia touche) means that the bow is to be moved away from thebridge and placed over the lower end of the fingerboard. The essential quality of sound of the instrument is notaltered, but the tone does become quite a bit softer and thinner. Even when sul tasto is not marked, very softpassages should be played with the bow well away from the bridge.
98Exercises in Various Bowing Techniques.
2 4 1 4 1 2 4 2 1 2 't 2 1 4 , 1 4 1 2 1 4
1 1 4 4 1 1 4 4 1 4 1 2 1 4 2 3 4 2 1 1 4
rfffffffffffff1 4 1 2 4 2 1 2 4 2 1 2 1 1 4 2 4
* i r r r r r r r r f r r r r r r1 2 1 1 4 2 1 1 4 2 1
• l 2 ' 4 l l 4 4 1 1 4 4 1 0 7 o 11 4 1 2 4 2 1 2 4 2 4 1 l 4 2 4
1 4 1 2 4 2 1 2 4 2 1 4 'l4 l 4 l O l 'i l . .,l (l 4 l 4 2 l 1
Practice lhe preceding exercise with íhese variations :
2 Andante 3 Allegro 4
etC. e t c. etc.
ff-' (spit-calo)(3
* l etc.
133333333 § Adag-io
etc.
(tremelo)
9 10 11 12
etc. e/c. -J
^^c^^^JJJJ
etc.
etc.
Legato Exercises on two Strings.
To be practiced slowly at first, and gradually with increased speed.
99
i ~^y* ri_ y \jl - =*-
— —
^^=
^ • • H
g0 1 4 1
0 1 4 1 4 l a i
l 4 l 4
l 4 1 0 'J 4
¥4 0 1 4 1 O
etr..
3'J-
4. l etc.
100
4 1 4 1 0 2 3 1 4 2 4 2
4 l 4 1 0 2 2 1l 4 O 2
1 0 1 4 4 4 4 2 1 4 l l 4 1 0 2
a - a
l O 2 l
Í 2 *2 2 0 144 214 't
Exercise in Broken Chords, Encompassing ali Major Keys.
At first practice this exercise slowly, with separate bows, and concentrate on the accuracy of the intonation.Later it can be played with various additions of slurs, dotted rhythms, or other bowings which have been dealtwith during the preceding pages.
101
r"is1 3 2 4 0 2 4 0 4 2 4 0 1 4 0 1 ° 4 f l l l O
o 1 4 1 4 4 l o
4 4 1 4 4 1 4 J 4 1 2 1 4
l 1 1 1 2 * 1 8 8
4 1 2 1 4 1 2 2 O 4
4 't 4 O 4 4 O l l
3 l l O 4 4 0 4 4 4 Q 1
2 1 4 1 2 4 1 24 4 * 1 4 4 1
2 1 4 1 2 4 1 2
J~l4 4 1 4 1 2 4 2 4 2 4 o 4 l l l l I I I i^ - ^ -i /. /. -i /. '. <4 4 1 4 4 1 4 y l
ÉS£4 1 2 1 4 2 1 4 4 4 1 4 4 l l l
4 1 1 1 4 1 1 4 'i 4 l
* At such placesasare marked with an asterisk, on this and the following page.the octave harmonic can more easilybe played with the fourth finger.
102
1 4 l „ 4 1 r 1 4 4 4 1 4 4 1
• _ • »
2 t 2 4 1 2 1 4 1
4 1 4 4 1 4 : 1 2 4 2 4 £=^H" *«
): =^^1 2 4 1 2 ' * ! 2
l 4 l 1 2 2 1
4 2 4 2 4 2 4 4 2 1 1 11 4 1 2 4 1 2 1
1 4 1 1 4 1 1 0 1 44 4 1 4 4 4 2 4 1 4 2 1 * 1I I I hR I
0 4 1 * 0 * 1 3
3 3 1 3
103Appendix l : Optional Fingering Techniques.
The general system of fingering in this volume varies slightly, if at ali, from that found in most of the StringBass methods in current usage. It is to be noted, however, that in Italy it is common practice to use the thirdinstead of the second finger on the central note of each position. Also, some methods published during thelast century suggested playing adjacent semi-tones with the first and fourth fingers. Without radical alterations,the student may, if he só wishes, expand the fingering technique which he hás learned in this book byincorporating a small number of devices that may be called upon to facilitate the playing of certain types ofpassages. Since the supplementary techniques frequently require the player to alter the normal hand positionto a certain extent, the student is urged to develop a strong hand position in ali positions before he employsany of these extra techniques in his playing ; if this is not done, instead of supplementing the routine of fingeringas they should, these techniques will only impede the development of a secure left hand.
I. The Extended Position.The positions become progressively smaller as the hand moves up the fingerboard. In the higher positions, bystretching the fingers it is possible to encompass a minor third between the first and fourth fingers on one string,a minor sixth across two strings, or a major second on one string between the second and fourth fingers. Byexploiting the possibilities of extending the position, a considerable amount of shifting can be eliminated inpassages which are encircled by these intervals. The degree to which this can successfully be done will dependupon the ratio between the size of the player's hand and the string length of the instrument upon which he isplaying ; if any discomfort is experienced in playing the following examples without moving the hand, acompromise between extension and orthodox position can be achieved when playing passages such as thefollowing by using the indicated fingering and rotating the hand upon the thumb, which remains stationary.
4 2 1 2 4 2 1 2 4 1 2 4 4 2 1 2 4 2 1 2 4 1 2 4 4 2 1 2 4 2 1 4 2 1 4 1
fS
4 1 4 1 4 1 4 1 4 1 4 1
3 r
2 1 4 1 2 1 4 1 2 4 2 l 2 1 4 1 2 1 4 1 2 4 2 l l 4 1 2 1 4 1 2
4 l 2 1 4 1 2 1 4 2 1 2 4 2 1 2 4 1 2 1 4 1 2 1 4 1 2 1 4 2 1 2
l 'i 2 4 1 4 2 4 1 2 4 2 1 2 4 2
2 1 4 2 4 1 2 1 4 2 4 1 2 l 2 1 4 1 4 1 4 1 4 1 4 1 4 1 4 4 1 4 1 — ^ 4 2 l 2A D. j G D- .,
104
8
4 l 3 1 2 1 4 1 2 l 2 1 1 4 4 1 4 4 1 4 4 1 4 4 l
f'f f fr frf frr r•4 4 1 2 4 1 2 2 2 4 l
' ( 2 1 2 4 1 2 1 4 2 1 2 4 1 2 1
1 4 2 4 1 "i 2 4 1 '\ 'l 1 4 2 4 2 1 4 1 't
In the lower positions, as the half-steps are farther apart, it becomes less practical to reach for notes outside ofthe normal range of the position. Unless the player hás a fairly large hand, it will be very difficult to play thetwo following examples in one position with accurate intonation. However, this difficulty can easily be overcomeby placing the thumb slightly lower on the neck than usual and rotating the hand upon the stationary thumbwhen the fourth finger is used.
2 (l 1 2 4 2 1 0
II. The Use of the Third Finger Below the Ninth Position.The extension of the hand beyond the normal position range of two semi-tones leads to the next of the somewhatuntraditional fingering techniques which are being discussed in this Appendix. Usually the third finger is usedonly as a support for the fourth finger below the Ninth Position, as it is not considered strong enough to playa note by itself. Furthermore, the hand is só shaped that the manner in which the fingers naturally fali intoposition on the string is not conducive to successfully negotiating three half-steps in one position. However,there are times when it is decidedly advantageous to be able to use the third finger independently of the otherfingers. And while there is no denying that the player is thus presented with a new potential hazard to accurateintonation, the risk of faulty pitch is by no means the exclusive property of the third finger. Intonation, in fact,is a matter for eonstarit concern with ali string and wind instruments ; the conscientious String Bass player isalways alert to the danger of playing out of tune, no matter what type of fingering he uses. Occasionally thethird finger, might enhance the preciseness of pitch when playing in the highest positions, where the clossness ofthe semi-tones requires a close cramping of the second, third,and fourth fingers if traditional fingerings are used.
yrtr1 .*For several d;cades prominent Italian players and teachers have used the third finger in the lower positions.In this system the second finger does not function independently, but serves as a support for the third finger :
*±tlT Ur r r ri etc.
105
As carly as 1875, a method for the String bass was published in Leipzig, which advocated the independent usageof ali four fingers. This was, Anleitung den Conlrabass zu spielen, by C. F. Franke. This method of fingeringdid not rec:ive widespread acceptancs, mainly b;cause of the difficulties associated with the free use of the thirdfinger which are mentioned above. But during the last twenty years or só, an increasing number of playershave emancipated the third finger, or at hast granted it limited independence. Whether or not the independentthird finger should be introducjd into ths techniqus, and if só, to what extent, is a matter which each player andteacher must decide for himself. The following examples are presented to illustrate passages which mightemploy the third finger to some advantage, either in one position with some extension, or with some slightshifting or rotating of the hand on the fixed thumb. Certainly the playing of the first example, from the lastmovement of Mozarfs 41 st Symphony, is greatly facilitated with the indicated fingering. Many of these passagescould also b: played by substituting the second finger for the third, and using wider extensions of the position.
a 1 o 4 :s 1 o 4 :; 1 o :! 't :>, 1 :i 'i \ :i 4 :i i :í 4 :! l :i 't \1 l
In the next example, (No.4), the useof the third finger makes it possible toprepare the first finger on the next String, providing for a smoother legato.
l 4 3 4 l 4 3 4 1 4 3 4 l '< 2 l l :{ 4 1 3 4 l 2 1 3 4 1 -2 H 4 3 1 1 3 4 4
Example No. 5 demonstrates the alternating of the third and the second fingers in the extension position.
ii»l*- -•!»*•*•, . \>i
1 3 4- 1 1 'J 1 3 4 1 : ' , . ' + - 1 1 3 4 'i \1 2
6
4 3 1 4 1 4 1 3 4l -'i 3 1 4 3 1 4 3 1 4 3 1
/, 3 1 0 1 3 •'• 3 1 H l 3 4 3 1 0 ', 3 4 1 31
11
.'i l (l 3 i l II 3 ••
14
4 2 1 4 1 3 4D A D D A D
With the third finger and the extended position, it is possible to play several scales almost without shifting (Examples 14-18 ).
« 17
p-p-P ÍT">r
1 4 1 2 4 1 3 4 1 3 4 1 3 4 1 2 l 3 4 1 4 1 3 4
106
20 l)-- ii
l 2 3 o 0 3 2 14 'i
0 2 1 4'i
i i i ; 2
There are times when the same note might be played alternately by the third and fourth fingers.
3 1
i :$ 4 i 'i i ' - ' '' » •> <* •» « 4 :{ t o i 3 4 3 i o
This passage, from the Symphony No. 40 by Mozart, is again an example of a very ackward figure made muchmore playable by introducing the third finger.
Ratherthan:
— etc.
4 2 1
20
Examples 25-29show how the third finger may be used when two notes which are parallel to each other on theG and A strings must be simultaneously stopped,or when it is desirable to stop two such notes at the same time toprepare a smooth legato. In Example 27, the second finger is on the G string, opposite the third finger on theA string, and the reverse of this is illustrated in Example 28. When the second and third fingers are placeddirectly opposite to each other, it is advisable to lift the first finger, unless it is needed as is the case in Examples27,28,and 29.
i,
2 1 3 1 2 3 1 3 2 1 3 1 • i 3 1 3 2 4 3 2 1 3 1
The third finger is usually used only in the three highest positions.Therefore.when it is introduced into the lowerregister of the instrument, it will at first be fairly incompetent in comparison with the other fingers, for itsstrength and dexterity will not be nearly as well developed. If the player wishes to use this finger successfullyin the lower positions it is recommended that special attention be given to improving its power and strengthwith exercises, for only repeated use ol the tinger over a period of time will bring it up to a levei of proficiencycomparable to that of the other fingers.
III . Bridging. (See Photograph No. 8)
Frequently it is necessary to use the same finger on two successive notes which lie across two strings. This typeof string crossing is especially awkward in rapid passages or when a smooth legato is desired.This is partic-ularly true when crossing from a higher to a lower string. From a lower to a higher string the difficulty is prac-tically eliminated, as the finger can easily slide into place.
107
Bridging, or stopping two strings simultaneously with the same finger, is a wonderfully useful technique for hand-ling this situation. If thr. fingers are to properly depress two strings at the same time,though, they must lie flatacross the strings instead of being curved in the usual manner,as is illustrated in the photographs. When bridg-ing in the higher positions with the fourth finger, the player may find it helpful to raise the first and second fingers.from the string. This will allow him to turn the hand slightly towards the fourth finger and bear down on thethird and fourth fingers with the additional pressure which is often needed to secure the correct stopping of twostrings in this register. Also, when bridging above the Sixth Position, a firmer grip can be achieved by pullingthe thumb closer to the fingerboard than is usually done. Be sure not to rest the arm on the shoulder of the bass!
In the following Examples, the symbol = is used to indicate bridging.
2 ^ ^
4 :i i „ ._, , () ., -
In Example 4, raise the first finger when the E-flat is played ; bridge with the third as well as the fourth finger. * Tryto keep the second finger, which remains on the G string, pressed during the second and third beats, but if thisis toodifficult it might be lifted while playing the E-flat and B-flat. While playing the Dat the end of the secondbeat, raise the fourth finger, which is again placed across two strings at the beginning of the third beat. Try tokeep the third finger down on the D string (but clear of the G when the D-natural is played) during the secondbeat. Again, if this proves to be too difficult, the third finger can be raised and lowered along with the fourth.
Example 5 : Here, too, the first finger is raised, andpresses the string only when the C is played. If theD is played with the third finger, the second fingerneed not be down at ali during the measure.
Example 6 : During the first two beats of the measure, the first finger is raised and the second finger is placed onlyon the G string ; the D and A are bridged with the third and fourth fingers. As in Example 4, try and keep thesecond and third fingers pressed ; while playing the C-sharp lift only the fourth finger, keeping the third fingerin contact with the D string but clear of the G. If the second finger can be left down on the G string in thisand similar phrases (such as Example 4), the first joint- of the finger need not be curved in the usual manner(convexly), for it will be easier to press the string with the flat rather than the tip of the finger when the handis held in such a position.
Or it may very well be that many players will prefer to playthe C-sharp with the third finger, keeping it across the G andD string s during the first two beats.
Before playing the A at the end ot the first beat of Example 7, placethe first finger in position to play the low B. Bridging can be doneacross three strings; as is the case with the independem use of thethird finger, some special practice will be necessary, só that thefingers can be trained to effectively stop a string away from the tip.
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* Whenever the fourth finger is used in bridging, the third finger should be placed across two strings só as to sup-port the fourth, even if the first and second fingers remain lifted or on the top string only. This applies as wellin cases when the third finger is used independently on the upper string of the bridging pattern, as in Example5 ;
108
Examples 10, 11 and 12 : Sometimes brídging is very useful even if no adjacent fourths are involved. Crossingtwo strings with the first finger in Examples 10 and 11 and the second fourth in Example 12 is preferable tojumping back forth between the strings with the same finger. In the first measure of Example 12, the firstfinger can bridge along with the second ; in the second measure, bridge with the second, third, and fourthfingers. While playing the C-natural the fourth finger should be raised and then lowered across the two upperstrings. Try to keep fhe second and third fingers in contact with the D string but clear of the G when playing.the C-natural.
10
2 4 1 2 1 2 1(3)
2 1 4 1 2 1 4 1D---- ,
(exíendedposition)
Example 13 illustrates bridging with the third finger. The first andsecond fingers may either bridge with the third or be raised, as theplayers prefers.
2 4 2 4 2 4 2 4 4 1 4 1
4 l :i 3 4 l 4 3 3 1
In Examples 14-16,bridging is combined with shifting. Arrangethe fingers in the bridging position before the.shift is made.
1 2 2 4 1 4 1 4 4 1 4 1 1 4 4
IV. Using the Fourth Finger above the Eighth Position.
Traditionally, the fourth finger is replaced by the third when the left hand is an octave above the open string orhigher. However, there are times when the fourth finger can be used to good advantage in the top three positions.When this is done, bring the thumb along the fingerboard slightly closer to the first finger than usual; againbe careful not to rest the arm on the shoulder of the bass.
Earlier in this book it was mentioned that the fourth finger may replace the third on the octave harmonic, asin Examples A and B.
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Using the fourth finger on a stopped note in the highest positions works very well when it is preceded by noteson a lower string played by the other fingers (Examples C and D).
Using the fourth finger on a lower string than that which the otherfingers are on in this register puts the hand in a very awkward pôs—ition and is to be avoided (Example E).
3(í
Several instances in which the fourth finger might be put to use with good effcct in the highest positions areillustrated in the following examples. Two minor adjustments of the usual playing position will make it easierto use the fourth finger in this register : Rest the neck of the bass on the left shoulder to give more support to thehand . and bend the first joint of the first and second fingers concavely só that the reach of the fourth finger willbe somewhat extended .
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V. Using the Thumb Below the Ordinary Range of Thumb-position.
The effectiveness of this technique will be difficult to demonstrate to the student who hás not as yet studied theThumb position, for his thumb will not have the strength, facility, or independence which it needs inordertobe used in the following examples. Therefore it is recommended thàt the student should return to these pagesafter acquiring a fair amount of dexterity in the use of the thumb.
When the thumb is used to stop the string it is no longer behind or alongside the fingerboard to give the fingersthe support to which they are accustomed ; consequently it becomes advisable to rcst the neck of the instrumenton the player's shoulder to compensate for this lack of assistance. However, this is somewhat less necessary ifthe player is seated.
Examples 1-3 Some of the examples which were given to illustrate the use of the fourth finger in the higherpositions can also be played with the thumb and the first three fingers.
1 5 3 5 2 ó 3 ô Ô 3 5
Í lE-e H-
3 1 ( 5 3 1 3 0 1 3 l 5 3 1 3 5 1 1 5 3 1 2 5 3 2The necessary number of shifts can often be substantially reduced by bringing the thumb into play is shown inthese few measures from Exercise 6 on page 42.
r f f f i f f f f f . i f f f f . f P F P f . F f r1 4 2 1 3 l O 4 1
In fact, many passages which ordinarily require a considerable amount of shifting or stretching can, by takingadvantage of the extensive reach made possible by the use of the thumb, be done with little or no moving ofthe hand.
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VI. Keepingthe Fingers in Place.The player should avoid any unnecessary lifting of the fingers in passages which cross back and forth across twoor more strings. In Example l, the student will probably have a strong tendency to raise the fourth fingerfrom the B while playing the three notes on the D string, and also the first while playing the B.
l
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Unless special attention hás already been given to this point, it may prove to be very awkward to avoid theunnecessary lifting while playing the example; but the comparatively small amount of effort required to trainthe fingers to eliminate excess movement will be generously compensated by the added facility and smoothnesswhich this brings about.
Example 2 : From the end of the first beat until the end of the first measure the second finger should remain inplace on the F.
111
Example 3: The second finger is lifted only when j;the D-sharp is played; ali the other fingers should / (*also be raised only when it is necessary.
4
Example 4 : Leave the first finger in contact ^)' J; owith the A String.
1 4 2 4 2 1 2
Example 5 : Keep the fourth finger on the Astring until the third beat of the first measure.
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t*Example 6 : Do not move the first finger to the Gstring at the end of the measure ; in fact, keep _/'[/ ppit in contact with the A string, and bridge for theE-flat. 7
sl. (Ç-1——' — -±Example 7 : Leave the fourth finger on the G string. - y \ l4 1 4 1 1
Throughout Example 8, leave the firstfinger on the D string.
In Example 9, leave the first finger on the -VV. (•',D string until the end of the second _í ° :
4 2 4
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Occasions may arise in which using the second finger parallel to the first permits the player to avoid unnecessarylifting of the fingers (Example 10).
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Combination of Techniques.
Finally we have a group of examples which are intended to illustrate ho\ two or more of the proceduresdescribed above can be used in the same passage.
Example l : Leave the first finger in place on the D string. 5Jv
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iExample 2 : The first finger is lowered only when the B is played; the second is raised throughout the example;the third finger bridges the G and D strings with the fourth, and while playing the B it is raised clear of the Gstring, but try to keep it in contact with the 2D string; the fourth finger, which bridges the fc y 4* '\ 1* l* l* Hj P l* 1 1* T l* l ltwo higher strings, is raised while the C-sharp ' ^ *• ^&»*J^-^^a9^f^^^^«_l l i -a n d B a r e played. 4 3 1 4
Example 3 : Again bridge with the third andfourth fingers, and keep the first and secondraised except when the first is needed to play
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112
Example 4 : The first finger remains in place on the G string: the second, noi being needed is kept raised -The third finger remains in place on the D string, the C-sharp being played by bridging. When the B is playedthe third fingir is raised off of the G string, but .try and keep it in contact with the D string during the firsttwo beats . During the third and fourth .
is lowered only
10
5 : From the Symphony No. 4 by Beethoven. ^Bridge across two strings between the first fc)'l **and second beats of the second measure. ^-~- ^
Examples 6- 9 : Wherever possible, avoid lifting the fingers between recurrences of the same notes :
6 . 7
4 2 4 4 2 1 4 2 , 4 2 4 4 1 4 13 * ~ 1 or= 3
1 2 1 1 4 3 2 1 4 3 2 l
4 4 1 34 1 3 1
In Example 11, place the first finger on the G string, the others on the D string. The fourth finger is raisedwhen the C is played but otherwise remains on the D string, the D on the G string being played by bridging.
4 l 4 l
Example 12 : Leave lhe thumb in place fromthe end of the first beat until the end of theexample.
Example l? : While playing the second beat,have the first and second fingers poised to '"^•fta f^move to the third beat. Move to the third beatwithout moving the thumb.
l i 4 5 1 3 3 1 5 1 3 5 1 3 2 5 i
2 1 2 1
Example 14 : Do not shift between the second and third beats of the first measure; while playing the E, movethe second finger to the F-sharp. While playing the C-sharp and B-sharp on the fourth beat, reach back withthe second finger to prepare it to bridge the E and B-natural. In the second measure leave the thumb in place onthe E-sharp through the second, third, and fourth beats;and in the third measure leave it in place from the endof the first beat onward,and the third finger remains on the high A from the end of the second beat until the endof the example.
14
1 ô 2 1 2 3 5 l 2 3 fi 1 I S 3
15 : The thumb can be very useful when figures based upon broken chords appear in the higher register.Lift the fingers as seldom as possible — for example, between the first and second measures keep the first andthird fingers set, and only move the thumb ; keep the thumb, first, and third fingers stationary into the thirdmeasure, as only the second finger must change its placement ; be sure not to lift the thumb during the fifth andsixth measures, otherwise the slight change of hand position will lose in security ; and só on, throughout theexample. If the player does not rest the bass on his shoulder these measures will be much more difficult to play,especially towards the end of the example when the fourth finger is called for.
Example 16 : From the Symphony No. 88 by Haydn.Leave the second finger on the B throughout the first two measures and the first beat of the third measure.
In conçjuding this Appendix, I would like to emphasize the tact that the techniques illustrated in the forego-ing — 129 examples are to be considered as supplements to, ralhei than replacements for, the basicfingering system which, it is hoped, the student hás developed by the time he hás completed this volume.The player who hás these techniques at his command will have a decided advantage, for the difficulty of manypassages is frequently notably 'essened by employing one or more 'of these procedures. Increasing the rangeof the hand position will unquestionably be more practical in the higher than in thelower register, as, for example,the distance between D and F on the G string is about the same as the distance between A and B. Eachinstrument of the orchestra hás its own problems and difficulties ; certainly in terms of the amount of sheerphysical energy which must be expended during performance the String Bass is unique. With the same twohands and ten fingers which the violinist possesses, the String Bass player is presented with a fingerboard fourtimes as long and strings about four times as thick. The String Bass player should give careful considerationto every available technique which might be of use in coping with these obstacles, even if it involves usingfingerings which vary from traditional procedures, for we can use ali of the help that we can get.On the other hand, I would like to close with a word of caution, which I feel is in order for the student whomight be tempted to use the thumb, the third finger in the lower register, or the fourth finger in the highestpositions at every possible opportunity ; such techniques should be reserved for the times when they are te Itby the player to be definite improvements over orthodox procedures.otherwise they may well end up making
114
Appendix II : Excerpts from the Orchestral Literatura
SYMPHONY No. 9
L. V AN BEETHOVEN, Op. 125
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O V E R T U R E "THE H E B R I D E SAHegro moderato
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GUSTAV MAHLER
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III. In ruhig fliessender Bewegungarco n _ V V n V
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(1685 - 1750)etc.
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DANCE OF THE FURIESt? <
from Orpheus and EuridiceCHRISTOPH W. GLUCK
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ROYAL FIREWORKS MUSIC
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STRING BASS
GCC
STRING BASS SOLO
FINDEISEN, Theodore A.Op.14. 25 Technical Studíes.Vols.I,II,IIl,IV.Ea.
HRABE. Josef86 Studies. Volumes l & 11 EachKAYSER, Heinrich EmestOp. 20. 36 Studies (WINSEL) CompleteKREUTZER-SIMANDL18 Studies (ZIMMERMA.\'.\)LEE, SebastianOp. 31. Twelve Studies (ZIMMERMANN)LIBON, Philippe12 Studies /SANKEY)MONTANARI. Cario14 StudiesORCHESTRAL EXCERPTS
(see under ZIMMERMANN)SCHWABE, O.Scale Studies
SIMANDL, FranzNew Method. Part I. Ne*• Edition
revised by STUART SA\KEYNew Method. Part II30 Stu .ies for the development of tone24 Studies "Gradus ad Parnassum".
(ZIMMERMANN) Volumes I & II. Each
SLAMA, Anton66 Studies in a» keys (ZIMMERMANN)
2.00
2.50
3.00
2.50
2.00
2.00
2.50
5.003.502.50
STORCH-HRABE57 Studies. Volumes I & II
STRAUSS, RichardOrchestral Excerpts
STURM, WilhelmOp.20. 110 Studies Vols. l & I I
WAGNER, RichardOrchestral Excerpts (ZIMMERMANN/
2.00
2.SO
Each 2.50
2.SO
3.00
3.75
Ea.
ZIMMERMANN, FredcrickOrchestral Excerpts from Classical & Modern
Works covering a wide range of SymphonicRepertoire l from BACH to DEBUSSY.MAHl.KR.R4 VEI..STRA \'1NSKY)Volumes 1. 11, III, IV. V. VI, VII. Each 4.00
STRING BASS AND PIANOAMELLER, AndréConcertino 1.75
BACH, Johann SebastianSonata No. 2 in D major 2.00Ária in D maj. (from lhe Suite No. 3) l .25Adagio from the Or£yn Toccala in C 1.25BOCCHERINI, LuigiSonata No. 6 in A major 2.00Rondo in C major 1.75BOTTESINI. GiovanniConcerto (KAXNY-SAKKEY) 2.00Tarantella iZl.MMERMA.\.\) 1.75Réverie 1.25CORELLI, ArcangeloSonata in D minor 2.00DRAGONETTI, DomenicoConcerto in A (NANKY-SANKEY) 2.50ECCLES, HenrySonata in G minor 2.00
FAURE, GabrielAfter a Oream (Après un RCVÍ-) l .25Op. 78. Sicilienne 1.25Op.24. l lep>
FESCH, Willem de (1687-1761)Sonata in G major 2-0°GALLIARD. John ErnestSonata in l' major 2.00Sonata in A minor 2.00
String Bass and Piano (cont'd)
GLIERE, ReinholdScherzo 1.50Intermezzo 1.00Prelude 1.25HANDEL, George FrederickSonata in C major 2.00Sonata in G minor 2.00Sonata No. 4 in D major 2.00HOFFMEISTER, Franz AntonConcertino No. 2 (SANKEY) 2.50KOUSSEVITZKY, SergeOp. 3. Concerto 3.00Op. l, No. 2. Valse Min ia tu re 1.50Op. 2. Chanson Triste 1.25Op. 4, Humoresque 1.25MARCELLO, BenedettoSonata in A minor 2.00Sonata in G major 2.00Sonata in E minor 2.00Sonata in G minor 2.00Sonata in F major 2.00Sonata in C major 2.0OSonata in D major 2.00
MOZART, Wollgang AmadeusBassoon Concerto (K.I91) (SANKEY/ 2.50Minuet (K. 334) 1.00Ária "Per questa bella mano". For Bass
voice and Piano with String Bass obligato 2.00
PURCELL, HenryÁria 1.00
RACHMANINOFF, SergeiOp. 34, No. 14. Vocalise 1.25ROMBERG, BernhardOp. 38, No. 1. Sonata in E min. (SANKEY/ 2.00
SA1NT-SAENS, CamilleOp. 43. Allegro Appassionato 2.00
SANKEY, StuartÁlbum of 8 Classical Pieces 2.00SCHUBERT, FranzSonata in A min "Arpeggione" tSANKEY/ 2.50SIMANDL. FranzOp.66. Concert Study 1.50Op. 72. Scherzo Capriccioso 1.25Op. 73. Tarantella 1.25Op, 74. Sarabande and Gavotte 1.50
STEIN, E. D.Concertpiece 2.00TCHAIKOVSKY, Peter I.Op. I I . Andante Cantabile 1.25Op. 37a. Barcarolle 1-25TELEMANN, Georg PhilippConcerto in G major (SA.\KEY) 2.50Sonata in A minor 2.00Sonata in D major 2.00Sonata in E minor 2.00Sonata in F minor 2.00VIVALDI, AntónioOp. 3/6. Concerto in A minor 2.00Op. 2/2. Sonata in A 2.00Op. 2/3. Sonata in D minor 2.00Sonata No. l in B flat major 2.OOSonata No. 2 in F major 2.00Sonata No. 3 in A minor 2.00Sonata No. 4 in B flat major 2-°°Sonata No. 5 in F, minor 2-°°Sonata No. 6 in B flat major 2.00
r W O S T R I N G BASSES
ÁLBUM OF 12 CLASSICAL DUETSCompiled & arranged by STUART S A N K E Y 2.50CLASSICAL t MODERN DUETSÁlbum of 24 Duets (ZIMMERMANN) 2.50ROMBERG, BernhardOp. 43. Sonata No. l in 13 fiai (SIMANDL) 2.00
MUSIC
TWO STRING BASSES <cont'd)TELEMANN, Georg PhilippSix Sonatas in Canon Form (SANKEY)
TWO STRING BASSES AND PIANOHANDEL, George FrederickOp.2, No.8. Sonata in G min (MKNSCHi 3.00
CIIAMBER MUSIC - MISCELI.ANEOl SBEETHOVEN, Ludwig vanOp. 20. Septet in E flat for Violin, Viola.
Horn.Clarinet, Bassoon, Cello and Bass 6.50
DVORAK, AntoninOp. 44. Serenade in D minor for 2 Oboés.
2 Clarinets, 3 Bassoons, 3 Horns, Celloand Bass. Parts 10.00
Miniature score 2.50
d'INDY, VincentOp.24. Suite in Old Style. For Trumpet , tvvo
l lutes & String Quartel (w. Bass ad lib.)Parts 6.50
Miniature score 2.50
JANÁCEK, LeosSuite for 1 Violins, Viola, Cello and Bass.
Score 2.50Setofparts 3.50
MOZART, Wolfgang AmadeusDivertimento No. 17 in D maj. (K. 334)
for 2 Violins, Viola, Bass (or Cello)and 2 Horns. Parts 7.50
A Musical Joke ("The Village Musicians")Sextet in F (K.522) for 2 Violins,Viola, Cello (or Bass) and 2 Horns. Parts 4.50
PROKOFIEFF, SergeiOp. 39. Quintet in G minor for Oboé,
Clarinet. Violin. Viola and Bass Parts 6.00Miniature score 2.50
SAINT-SAENS, CamilleOp. 65. Septet for Trumpet, 2 Violins,
Viola, Cello, Bass and Piano 7.50
SCHUBERT, FranzOp. 166. Octet in F for String Quartel ,
String Bass, Clarinet, Horn and Bassoon 7.50
VIVALDI, António
Concerto in G minor for Flute,Oboé,Violin,Bassoon and Piano (with Cello or Bassad líb.) (P.402) iGHEDINI) 4.50
Sonata in D maj. for Flute, Violin, Bassoon,Cello (or Bass) and Piano (GHEDINI) 3.00
STRING QUARTETS
VIVALDI, António3 Quartéis (1. Sinfonia "Al Santo Sepolcro";
2. Concerto Madrigalesco; 3. Sonata"Al Santo Sepolcro") (Bass ad lib.) 4.00
STRING QU1NTETS
DVORAK, AntoninOp. 77. Quintet in G (with Slring Bass)
FULL SCORES
STRAUSS, RichardSalome's Dance
I N T E R N A T I O N A L M U S I C COMPANYín 5 l l FIFTH AVENUE Complete catalog $ent free on request
STRAVINSKY, IgorThe Rite of Spring. (Lê Sacre du Printemps) 6.00
NEW YORK CITY