METHODBO

Joselito C. Alejandrino

OLIN FINGERING Cf.lART

st Finger(index)

2nd Finger( iddle)

3rd Finger(Ring)

(SOL) (RE) (LA) (MI)

G DA E

Finger(Pinkie) ~,./"---'

Low 1

Low 2

High 3Low 4

METHOD BOOK

Joselito c. Alejandrino

First Printing © 2008

SOUND PUBLISHING CORPORATIONMakati, Philippines

All rights reserved.No part of this bookmeybe produced or transmitted in any form

or by any means, electronic or mechanical, including photo copyingor by any reformation storage and retrieval system,

without permission in writing from the publisher.

Cover design byNathaniel A. Cruz

ISBN 978-971-8994-90-0

The EASY VIOLIN Method Book is published and printed by Sound Publishing Corporation, with business andeditorial office at 2nd Floor, Yupangco Building, 339 Gil J. Puyat Avenue, Makati City. Telephone Nos. 897-2157& 897-2187. Address af/ manuscripts with self address stamp envelope and correspondence or through TelefaxNo. 895-63-38 Published under PCM Certificate of Reg. NO.167.

FOREWORD

Easy Violin Method Book is created especially for people like you whowant to have a good foundation regarding the proper method for playing theviolin.

Playing this instrument demands a great amount of time learning thebasics. Each page of this book will help you discover your potential ofproducing a good, controlled solid sound of the violin. Basic lessons of properholding of the bow, proper posture to the actual playing the instrument,iUustrationsand pictures are presented in a very understandable way so thatyou willenjoy learning.

I hope that this hook will become part of your success in becoming agood violinist.

JOSELITO C. ALEJANDRINOAuthor

ACKNOWLEDGEMENT

I dedicate this book to my family, my wife Nerise and to my only child, mylittle violinist 8etina.

Special thanks also to Mr. Noel De Los U. Angeles for helping me inmaking this book look more presentable than it was when I composed it. Also toMr. Rene Mari Yupangco in giving me the opportunity to share my ideas throughthe help of SOUND Publishing Corporation.

JOSELITO C. ALEJANDRlNOAuthor

CONTENTSPartsoftheviolin 6~~~hB~ 6Howto attachstringscorrectly 7Howtotuneyourviolin 7Thefourstringsoftheviolin 8Tetrachordpositionchart 9Howto holdthebowcorrectly 10Howto drawthebowcorrectly 12Fingerandbowpressure 16Positionandaction 16Howtotakecareofyourinstrument 17Exercisesonopenstrings 18Exerciseforcombinationsofall thefourstrings 22Exercisesforgainingfirmercontrolot thebow 23Exercisesforcrossing andconnectingthefourstrings 33Exercisesinquarternotes 33Fnatural 35Etude1214time 37Etude2 3/4time 38Scaleof CMajor 39Etude 3 eighth notes 41Dottednotes 43LegatoPlaying 44Slurrednotesononestring 453 notesinonebow 454 notesinonebow 46ChangeofStrings 46Fourthetude 49Relalivedistances 50Fifthetude 51ScaleofAminor 51Notesofdifferenttimevalues 52Sixthetude 54Scaleof GMajor 55Brokenchords 55Exercisesforcrossingthestrings 56Wholebow 57Skipacrossoneortwostrings 59Exerciseforchangeot bow 59Exercisesacrosstwostrings 61Exercisesfordifferentdynamicexpression 61Scaleof Eminor 62Technique development 63

Bow grip

Top cr-..-..-..--~

4-----<") Pegs

f+-~---o Nut

Scroll o----------~Pegbox~------~------~~

Fingerboard O----------fltl.1

11+------0 Neck

Strings o-------4-+Ti'T-f.l

.....,f-------Q F holeBridge o---t~~~~b •.~~-----o Sound post

Fine tuners o----Ilt------..C)&,(.

~----_H_f_----o Tail piece

Ch in rest o-----.;w---.

~..~~~=-----oEnd button

PARTS OF TUE BOW

." point StiCk} Adjusting screw

6

WOW TO ATTACU STRINGS CORRECTLY

Correct Incorrect

The above illustrsiions show clearly how the stringsshould be attached and wound around the pegs

The pegs should always be in good condition, sh.ould fit exactly and shouldrespond to the slightest touch of the player.

If the pegs begin to stick and do not work easily, they should be taken outone at a time and be rubbed with a little soap if too tight, or with a chalk if tooloose.

HOW TO TUNE YOUR VIOLIN

TUNING OF THE FOUR STRINGS

The Four Strings are tuned in so-called Perfect Fifths. A perfect Fifth isan interval of five (5) diatonic degrees, counted from the first note (prime) in acale. (See next page)

It is of the utmost importance that the Violin is properly tuned. As correctning Of the Violin by ear is difficult for a beginner, the Violin may at first be tuned'th the aid of a piano or a tuning pipe.

As soon as possible, the pupils should be taught to tune their own Violinsear. This is one of the reasons why Ear training should begin early.

7

rUE FOUR gTRINGg OF rUE VIOLIN

(SOL)G

(RE)

D(LA)

A(MI)

E .I I

,. / I ,,./ , ,,. ,,.

/ , ,,.,. / I,,. r ,,.

/, ,,. ,,.

~ • "llA"

~

G(4C) D(3C) A(2C) E(1C)I)

<) :0,

,-0- II II II I

F AB cD E F GAB CD E F G

Middle C

C Means corda: Strings.

~ Indicates Down-Bow.

V Indicates Up-Bow.

D Indicates Open String.

8

TETRACUORD POSITION CUART

• Major Tetraehord Position

OPEN STRINGS Tetrachord : First four notes or last four notesof a scale

~~~n== .,

u Major Tetrachord : First four notes of a Major scale.-u-G o A E

1} WHDLESTEP

} WHDLESTEP

} Yz STEP

Minor Tetrachord : First four notes of a minor scale.

2

3

~

0 I 2 3 0 1 2 3 0 1 2 3 0

~ ~#I), ~ ~ n

~0i«\l n

0 0 SI- -u- -e--u- -e- V

• Minor Tetraehord PositionOPEN STRINGS

TUNINGOPEN STRINGS

II

nu

G

~

G 0 A

Cl

u-rr

Eno A E

1

2

WHOLE STEP

3

~o

0 I 2 30 1 2 3 0 1 2 3 #0 ~

~

~ :[ 011 n !~0) "-Z

() y0 n $70 ••V

9

2.

CORRECTLY

Make a circle with the tip of your thumb on the first joint or crease of yourmiddle finger. Keep your thumb bent. (fig. 1)

Place the thumb of the right hand, slighly curved, beneath the pencil andopposite to the middle finger, with the other fingers placed side by side on thebow touching each other. (fig. 2)

4.

1.

The thumb must be placed simultaneously against the nut and thestick. (fig. 3 & 4)

3.

6.

The bow must lie in a slanting position between the first and the second. ints of the first finger and and the tip of the little finger. (fig. 5 & 6) .

7. 8.

Hold the bow firmly but in doing so, the thumb and fingers must never bestrained, and should not touch the hair of the bow. (fig. 7 & 8)

Never forget that next to the fingers and the arm itself, the wrist is the mostimportant factor for the ultimate mastery of bowing. To play with a cramped wristwill not bring satisfactory results in violin playing as a loose and flexible wrist isimportant in correct and artistic bowing.

11

UOW TO DRAW TUE BOW CORRECTLY

The bow should never be drawn in a direction too far forward (fig.9) or toofar backward (fig. 10) but always in a straight line, parallel to the bridge. (fig.11)

The bow should be drawn straight across the strings, parallel to the bridgeand midway between the bridge and the fingerboard. It should be drawn evenly,touching only one string at a time.

9. Incorrect

11. (Correct)

10. (Incorrect)

12

The wrist should be entirely loose and flexibl~ capable of moving with ease.In fact, the bow cannot be drawn straight across thestrinqs without raising thewrist at the frog and lowering the wrist at the tip. (fig.12,& 13)

The change of the bow should not be noticed but be done as quietly aspossible, and here again a loose wrist is required. In fact, mastery of this mostimportant requirement would be impossible without a flexible and pliant wrist.

12.

14.

13.

15

13

e lower arm and wrist should always be moved to and fro with naturaleedom and simultaneous action. Do not hold the elbow too near the body and

also beware of holding it too high. When playing upon the G string, the elbowmust always, and quite naturally, be held considerably higher than when playingupon the E string.

If ;1'I

i- { j/\ tI

\i J 1 I

f 1! 4 1; I'. I

(, r

f f

I1 j •

b

Variations in the position ofthe right ann in executing a stroke;(a) at the point of the bow;-(b) in the middle;(c) at the nut.

The straining of the muscles and ligaments of both the left and right hands,fingers, wrists, arms and shoulders, through stiff or cramped exertions on the partof the player must be absolutely avoided. All movements must be carried out withnatural freedom and pliancy.

ImQortant PrinciQles Concerninq(:lKG.~~A.Kt) BOW P~~~~UQ.~

1. The left hand fingers should stop the strings with exceedingly strong pressure,but without stiffening or cramping the hand or fingers.

2. The pupil should gradually strengthen and develop the fingers, so that they willfall upon the strings like individual little hammers.

3. The right hand fingers should draw the bow lightly and smoothly over the stringswithout any rough or heavy pressure. To be able to do this, you need to usedifferent dynamic pressure from the two hands:

a. Strong finger pressure for the left hand; Light bow pressure for the right handb.The wrist should be free and flexible to insure free movements of the arm.

POSITION AND ACTIONof the fingers of the left hand

The fingers of the left hand should be held above the finger board in a naturaland curved position. The actual stopping of the notes shall only be done by the tipsof the fingers where the sensory nerves are located. Always enable the fingers tobe kept above the finger board, ready to fall into place with the necessary strengthand precision.

SUMMARY

1. Always stand erect, with shoulders well straight back and chest forward;the weight of your body resting on the left foot.

2. Do not let your Violin sag but keep it in a straight, horizontal position.

3. Draw your bow mid-way between the bridge and the fingerboard, straight acrossthe strings; the sounding point must never vary and the direction in which it isdrawn must always be in right angle to the strings.

4. In changing from down-bow to up-bow, or from up-bow to down-bow, moveyour wrist.

16

5. Play in exact time giving the precise value to each note. Train your senseof rhythm incessantly through correct and proper counting.

6. Be sure that your Violin is perfectly tuned.

music must be placed exactly in line with your eyes, the height to belated by the necessary raising or lowering of the music stand.

UOW TO TAKE CARE OF YOUR INSTRUMENT

VIOLIN

Handle your violin, bow and case with care. Instruments and bows are madeof thin wood, and can break easily. Bumping your instrument, either in or out ofthe case, may cause it to go out of adjustment.

Keep your violin clean. Each time you finish playing, use a soft clean cloth towipe the rosin dust from your instrument, bow stick and strings.

When you are not using your violin, always store it in its case. Before placingyour instrument inside, remove first the shoulder rest. Secure the latch properly.

Never put this book inside your case. Placing it inside may cause your violinto break or go out of adjustment.

Do not expose your instrument to excessive heat or cold. Extremetemperatures may cause your violin to crack.

Check your bridge often. If it is not standing straight, ask your teacher toadjust it yourself.

Do not attempt your own repairs. Only an expert musical repairman has theskill and experience to repair your instrument.

Do not let others play your violin.

BOW

Bows break easily. Do not drop your bow or hit it on anything that will cause itto break. .

Do not touch the hair of your bow. Moisture, perspiration, oil or dirt from yourhands, face, or hair will spoil the bow hair.

Before you begin to play, tighten your bew with the adjusting screw. Youreacher will show you the correct tension to use.

Each time you finish playing, loosen the tension of your bow.

17

~ A String I .

e

3.,., ,.,~. t$?-. t$? - > t$? - t$? - t$? - t$? - ~ - :1

.

7. V

~

,., ,.,r

I I I I I I I :1n n () 0 n n n n

~~. ~ @:. ~ ¥1~~)~ Fgo ~

~------i •• ~ •• ~ •• ~ J~ .. :118

E String

, .•

o

,

In :1

12. r-, r-,~- G~-----'-G- Jtf- G- G- G- ~-:I

14 .

..

15. V

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~n

ia

19

D String

o

21. ~

ffi-- ~ - 00 - 00 - 00 - 00 - 00 - 00 - :11

o

24. V

o

V

I -~ @ I I I I :10 0 0 0 0

G Strings

o

21

Exercises for combinations of all the four strings

iG

i"39.

~n 10 I•• I" I" I•• 10 In :~40.

~~~~

41. Marching to SchoolExercises for gaining firmer control of the bow

22

B

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G 0 G 0 G 0 A 0 A C A A 0

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Exercises for gaining firmer control of the bow

••u u

23

'¥J j t#=r. ~ J ~ J ~ j ~ ?,.

~. v v

24

•v V r-I v

•

••

25

-A string 1st finger

f==n~:11 1

1

~n:~o:1

iI:; I0 po: I0 I.. :1:: I.. I0 I.. I0 :1

E string 1st finger

-'LoIO,------=-:I

~-o~.---,-

10 :I-=---: 0 1_0 ----I1f--° _I n I (> :11

<,

72. ,., ,.

~() ====ij:1

73. ,.,~n:_:1

,.,

26

D string 1st finger

o :176.

o :1

~ :_:1"1~ __ :~o 0

o 1 1

10 :11

G string 1st finger

1

80.

-0 ~:I1

t~~o :~&:I

~==I"I 1"1

==-gt======t=====I--------=-:E: I I I > I :~- - - - -o 0- U -9 0 0-1 1

-o

-0- -o

-0-

27

~f----:1 •• :~n Io 1 0 1 0 o 1--------------- o 1---------------- o

~~ •• :~I---n-----,t011 0 o 1----------------------- o

I~n ,.,In :I:n 10 I 2 10 In 10 In :iln

0 1 0.1

87. 2 2

~'-(O-)~:~I-(-O)------=:II

88. 2 2r~1° 0 1°,.,

1° 0 0 0

IIn :I:n I 1° I 1° 1° :1

1 0 1

D string 2nd finger

~:~I:I: 1 0 1 I-o---::i 0 1------------ 0 1---------- 0

~:~~o~:1: 1 0 ~ -o-~ 0 1------------ 0

28

91. ,.,r~ 2 2

10 In 10 I :1: 10 In 10 In 10 I :100 0 0

1 0 1

G string 2nd finger

~ ~ ~ .

~~u :I~~rr :101-- 01-- o1------- o 1--------- o

t~u:~u:1o 1 1 0 1 0

~ :L.) :'-':'&--=-:12----- 2------ 2-- 2--

r~ ,., 2

I -' r-' :1: I :1e- n e- e- n e- n e-n e- n n

0 1 0 0 1 0

A string 3rd finger

~~:J~:~n ~:I2 2 2 2--

~===n:=::;:~r==(I ~:Io 1 0 1 0

2------2-----

#·-~o)---lII--(l~:1=! 1 0 0 1 02-------- 2-------------

29

E string 3rd finger

~~n:1o 1 02 2-----------

§ ro.JL1-- --e. : ,., .e e :

~ 1 0 0 1 0

••

2------- 2--------

D string 3rd finger

~===::i::~~~1 ? 0 1 . 7?..---2----- 2-------'-- 2-- 2--

102.

~:~§o:1~ ? 0 1 0

2-------2------

1----------- o o 1---------------- o2------- 2----------

G string 3rd finger

t~u: u:1o 1------- o 01---------------------------- o

2------- 2----- 2-- 2--

o 1------------ o 1---------------------- o2----- 2------

30

~~------~-

106. ,., ,., 3

• •• •U & & U U & U & U &U & & U U & U

0 1 0 0 I 02 2

A string 4th finger107. ,., ,.,

11 :101 0 012 0

2 3 ~3~============================~--

Cl :1o I 0 I 0

2 3 2 3-----

r==~ ==1==7 =:::t:;;1n;::::=:::I:&===O I::n=«\===11f:e:o==1 0 I:e=o===11fD=O==1:&===0 In I0 I:' :12----------------------3-------------------

E string 4th finger

~f-"'-"()'----;:-1:~n :1o 0 I 2 0

3 3 3--------

1-'«••..•:<----::13 2 3----

r~4

0 &.0.

&.0.

&.0.

&

1

0I I I I I I

0

1

0 In :1I 02

3

31

3-- 3------ ,3------

D string 4th finger

~:~§o:1~~~?==:i 0 1-----------------2--- 2----------------

i----§ ---=-:1o 1 0 1 0

2 2-------3 3

t~ 4

10 In 10 In 10 In 10 In 10 In 10 I :10 00 1 0

23

G string 4th finger

01------ o o 1---------------------- o2--- 2-----------------------

3--- 3---------- 3------

r u :1o 1 0 1-------------------

2 23 3

118.r~ I I~ I I I I :1u e- e- o e- o e- nu e- e- u

0 1 02

3

32

Exercises for crossings and connecting the four strings

119. :,.,- V r-I

120.

0121 1210 0123 123 0

121. r-, r-I

122. .

23.

f :~

Exercises in quarter notes124.

~n:~ o

127. r-I 2 3 2 3 2 r-,. 3 2 .

~f--IO_)------=::~

33

130.

~>' '------&---71 r-, 32

f--&----4~ :~

131. 4 3 4

~=etJ==ij:~

132. 3 4 4

~I-~---=-:~

134.

34

137.

& :1

& ~~ n :1

F NATURALE STRING 1st finger

140. ,.,

~i * :1~~ =t=

E STRING 2nd finger

,'E_~*:I, ,., 1 2

35

E STRING 3rd finger

145. 0 1 2 V 3 . 2 3

*81

E STRING 4th finger

s :1

FNATURALon the D string

ETUDE 12/4 time

:~

153. The Babbling Brook

A~ " •• •• •• •• -(T -?- - ... ••

... '- -rIr- '-'" 11 •••.

tJ I

~ I~... ..:;..r. " " 1 - ....J~ 17 - - - = -,~ - --- - --- - --- --- • --- --B

~ ~ - •• ... •• -- ~ z: -... ---- -- ~ --,"Tr "'""V I I I

I

~

.-I ....J.-I - ---- 7"T .-I - -::;;

'V --- • - - • --- - ~

37

ETUDE 23/4 time

i6~~~JM~158. The Ring

tI' " I I I

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" ,.-J .-v

,tJ ---~ - ..• - • - ••• ~ ..• -~ ..• ---~--- .0-

38

The Cricket4/4 time

,. 1\

A la •.-1.-1 .-I .-I .,..,. .-I

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B • , - 11•• I""" , - - - ,..-I •••~ v - - - - <,

'eJ .......•..- <, -

", ~ I I I I ~-- - ,.•••.-IeJ ., ., ., .,- I I I

.,., ., =rl~- - - - ., TT T .•.- .•.~ /' -/' ~ /' <,

~ • , - , - ,.•" v - ,- L•• - - 11•• r: ~ - - .-I

'eJ 11-& ."11 ~-& 11-&1:i

r:.I ~ -~

160. Scale of C Major;. \

A -- •• -eJ -& u -~ ~ , I I

/' <, -B - - •..-"'- - .-I -- - - .-I .-I

'eJ I I I I I I .•. c" -

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~ I I - .....•.. r.. .-I - .-I .-I~ V - - - -' ./ - L_ - .-I - -•..eJ ~ .•. <::> ---...I '-" - ••• - <n- <:» ••• v

39

~ "~r " "...,V - ••• "...f) - u -&

~ •.. ...,cV -f)'-" -0V ~"-,J. •. - ~ •. -,J:if~-,J -&

Fourth finger or op-enstring161.

~C~o :~~() :~~n :1

Preparation for scale of C major

162.

~ 0 :1-& & .

163.

~ ~ ~

164.

~

165. Seymour C.M. V. Weber

A~ ~ .•... 'f;'- • - .•...•... r~ ... ~ u n r~ u r- .•... - --'" •... ••~.. '"'" v

'",~ r "•.... Ill .•••'" -r. - 1"- 11I- r. -'" V I.

~ ?; ;-6 c;. ~'..eJ ;g. ~ -6 -6 +tv- ..•.• ~ ~-6 -

'z

B

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t""

tJ I I~

.. '" .r: r:..,.j .- , r. - r. -"'" r:,tJ -6 ~ -f!P;g. ;-!1-'..... ~ ?J i ~-6 " ~ - ~

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166. Etude 3 eighth notes

~

t]

41

167. Merry - Go - Round

A./ ~ ....-1 ~ ,....... ~ - -•• - r- -~ - - - .-I .-I r- r- - • -, ,...r " ,. .-I - - - - .-I - •'- lJ •..•. - - -fJ -- I I -

~••~ ~ -- - .- • -r '" ,. - • ,...

'- lJ •..•. .-I .-I - - .-I

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; ~ • ,.....,- - - - - ,... -,... - - - ,... ,... - - .-I r~

, ....•fJ I ••••••• I - ~ I

~ -- - .-~r '" .-I ...•,lJ - r .-I - .-I .... - .-I - - • -'fJ -,J - - •• - - • - ~

•••

168. A Cloudy Day

A " " ~ I ..".. • - - Ir- _ ,... r~ - r- _ -~ •... .-1- _ r- _ - -- ,r, '"' " - - ,... - ,... ,... - •..,lJ ...•.tJ -.....J

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.-I .-I

'fJ .-I r;; •• - .. -u :4t .• • -~-.. <«

B

> ~ • • - ..:... I- - - ,... r- - -,..,. - r- - r- ,... - ,... - -- •r- - •,veJ b ! - - I-~ I

~ •," •lJ - .-I - .-I

'fJ -'0/ ..::: .....•...- .. -,. .. -" -•. ••• :4t - 4~ ~ ". / .

A "Dot" placed aftera note prolong itstime value by half.

J = 2.counts

Half note

J. = gcounNt

Dotted half notePlay the down-bow slowly, and the Up-bow quickly using the same length of the bow.

v ~ V .

~. ~. f=ij. ~. m. [m. m· B

Down-bow quickly, up-bow slowly

~.~ V

: . .o

V

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~

V V~. :~.tr ij. ij. S· m· TTII

0

Down-bow slowly, up-bow quickly

~I-----. jij. ~-. 1$1o

I •• . ,

43

""""""

,.. n_ •

175. America

B

./ 1\ - •• •• ••.•• - - r- _. _ r- I"'r _ r- - - U·r, '" " ,... r-

\.'IJ •••. ....tJ I I I r I I I I -,

~ I I•••• -r.'" " - .-I - .-I ,...-1 - .-I .-I

.-I .-I .-I - - ,..- - - -,tJ - -# - -# -#- -# - / I..- -11 11

A

•./ 1\ .•• _ - - - _. - _. 1*-_

"11 ••

...• -•r '"IJ

fJ I

- -- ~ •-+ J •-,J- -

.-I ,... """_.-1- - _ .-I

,. I 0....1 - •. ,.-.-I •

LEGATO PLAYING"Legato" means the playing of a number of notes or a passage in a smooth

and connected manner, with no breaks between the notes. The sign for suchplaying is so called "SLUR", a curved line drawn over or under the notes, signifyingthat they are to be played legato and indicating to the violinist that they are to beplayed "in one bow".

JJjASluf below

3 notes

.c>.r r r rASluf above

4 notesA Slur above

2 notes

For this kind of playing, particular care must be given to the equal divisionof the bow:

With 2 notes to one bow: Divide the bow into two partsWith 3 notes to one bow: Divide the bow into three partswith 4 notes to one~bow: Divide the bow into four parts

Slurred notes on one string

~'c ~ay exactly one half of the bow for each note

~'--- U :~

177. Ij

1 2 3

.". :1

3 notes in one bow

, ~xa<tly one third of the bow for each Dote •

~~

81. Ij

o

45

4 notes in one bow184.

~e

185. 3 4

~ :.11 :.

•• :1

CUANGE OF STRINGS

Any bowing is relatively simple as long as the bow is used on one stringonly. It is when the bow is transferred to a new string that the difficulty arises. Itcan be said that the main problem of bow technique lies in the art of perfectchange of strings.

In order to gain a smooth inaudible string transfer, the finger, just used,should remain on the string until the bow has changed to the new string.

Exercises for string transfer

iF1 FEC--~-----=:~f--40~---=-:~C&CCCC~:11--

3-- 3--

46

~ I

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U2 2

91.~

.0. ~~~- t ;\n ,., 2:-. - - ,- •• n ••• • - • • - •••• • • • •v - ....• -

V I <:: I ~ -,J .J8 o· 3 <:> 3

String transfers with 2 notes to each bow

9r ~ 3 4 3 01~~

~ 3/"'""';2 I I ,,-.-.4 ,,-.-. - .~•....- - - - .- .-~ ....• - ....• - .- .-- - .-I _ - -e> ••• ...J V' -- -- I I I

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93. ~ /'1 /1" --- . r>. c>. - -11\ .- - .- - - -""', .- - .- - ....• .....~v - - - - ....•V I I I I '-" "'--" - ."'--'

9~4.li n ;~ & ~ & ••- ••••••v - .• -,J U~i ~-,J •• •••• •••• &~ \...--- '-../3-../ <:» ---.J --./ ~

1-- ~

String transfers with 3 notes to each bow95. 3 4

~n~ fill t 2 I ~ ~!t1 -~ .-~ ,.. .-I

1)' •••• ....• ..... - .-I _ - ~ ~-@) .~ ~ -~ <c:> ~ I ~ I I I I

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1-- 1--

47

1-

String transfers with 4 notes to each bow199

• 0 ~

~~

~

~4 ~ ~4

'--9-:11--

202. The Doll

3---

B

4 3

42

48

203. Fourth Etude

$3 __

49

204. The Squirrel

A•. " !Ill V 0 ~-

" • •eJ • •r. "" '" .-I .-I .-I .-I •.. •..~ \If ••.•• .-I .-I • - - .-I •t) - ----"2 ~ <:» ----1 ·f\ --" • • • • ,...

r,"'" ' '"~v •.• .-I .-I

,tJ ••• ••• • - - •• .•. •• •• •• I I

Down-bow quickly, up-bow slowlyM V

B

•.. " • • 0 - - • 0 ~ -'. ,... ,... • , -...~ • r- - - •r •• •.. •.. • "r- r-,tJ I I I I

" ~ - /'1 I

r- - • • • • - -r, •• ,... •.. •.. • ,... ,... • .-I .-I .'~\If .•.. -tJ I I ,I I I

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1 2 3 2 1 1

206.

~

- :1

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X -'fJ I I I I I • I I

Relative Distances

- :1207. r-I

- :1208.

o

- :1

.------TlI

- :150

31~~~ 2 23

. :~

Exercises for Band F

214. Fifth Etude

~~5. ,.,..• ..•

rT ...• ---.~--&1

TT _t .•. ••••••r.

51

Scale of A minor217 .

A./ " filii - ~ 0

'" ~ --.-,.r. - ••• ~,"" " ••• ~

\..' \J

@JV

" I I-.. r• - -,"" " - .-I I- - .-I

\..' \J - - .-I. - - .-I ...J

'tJ - • #-,;-~I I - • • - I

B

1 ,2 312.,. " ~~ =t= 0- 0 -..'-" '-'"..

\..

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f) ! 'n - ! I I I --- -,~

-,j-~--- • ~-,j- •" ~

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IfI Iy -~-I.-- •

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~18. I 7~! ~~..~=F=t:~ . --=--- _~n ~~ I '

NOTES OF DIFFERENT TIME VALUES ..

In one bow

52

Dotted Quarter and Eighth Notes

224. Old French Song

" ~ V I~3

t ~ I

= -...- ,... r- _.-I -~- _.-I~ -- -I-~ --4!J, - v r I I I - -1

~ ~-.. -, .-I , .-I - -'4!J - .• --=i =4i -. ~ • - • -~T ~-. • tII • - 11

~~

~~ --

53

~ " ~- --.....~ 4u -. JIII' - -:;;;: . ~.'.

~ r- . - - .... - _.r "... ., r- r- r-"-fJ I I I I I

~ r'! - - - - -,... ""'"~J.

"".-I _ - ~.-I - .-I - ••• .-1,. V' -i -

.-J _ - -11II- - .-I -- - ...- .-I .-I

'fJ 'C/ ~-- - ~.- - ~--~ <::: , .-tII -- ~ -

v, ~ I I I I I I- - , •r. " - ~ •• .-I ~ •\.: ..-",) I I I - ------- ---...

" - -""""'I ~~ , •J '" - - ..•. •\.: .-I _ - - .-I - .-J zr .-I

fJ <e> ::..;,,[ •• -. .... - ...•..... .- -. <e:» - -~,

Sixth Etude

- 1

413

. I~ ~.

54

Scale of G Major226.

r, ft· ~ _",V •••. "'"

eJ

~ ~ ,., Vr: ,.,V ,., \ ,., Y ,., v/', ,.,V/", ,., Vf"..

B·~~~-~~~~'~-§~~~~'~~~~~~~~~'~~~~'~~-~~'~~-~~'~~-~-~_ •..••.. r-.-I... _ •..- -, tJ I -J =ii -~ • '--' .•. I .• ' • I

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., ~ '~ n - 4" •• ~ .

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. ~ •x,v' -eJ

~ ~ , , , , ,

- - r- __ - r- _ •r""

r- .-I _ r- r- _ .-I .-I _ r- _ .-I .-I _ r- .-I - •X,V - - ....1- - - ....1- - - - ....I _ -eJ I I , I I - • I .-

Broken Chords

Scale of G MajorPreparation

,'e~u :~o :~

~:~~o :~

230. Nearer my God to Thee3

A" , ~ I I

~ ,.. .... - -.r " r- - . .-I l- •• .-I

lJ - -f) I -- ~ - (;.I I I -, ~

r, " ••'- lJ .-I" - ••'f) .L! -4i-.-,j - ·4 (;.I --,J - .L:.i '-1

~ ~ ~ ~ ~

B

o, " ~3 4 I 3 ~ -- - - -" .4 ,..

# r- I- - P-r.

"".-I" -i - ~ .-I ••

XV - .-I ~ ..., -f) ~- ...,

~ <::> r

" ~-r>.

....# -. - - -" -.

r."" •• P- r- I-

xv ~ -f) ~ (;.I 4 -d- '. I I I I I

o 4 4

Exercises for Crossing the Strings

===-==~:I

it ~ - :~f--------,-~ JII

iH j ~ _~t:::==_~:I

- :1

56

Whole bow. r-I

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

238 ,., r> r-. .....--

~~=~~= • ~,......()'"-----=--====== 1-1-,-=': ' . :1

••

239. Springtime

A~ 1'\ ~ ~ 3 ,... V I g ~3,. v .>: .. - - - - -, .- -tJ - - ~ ~ I I I I ~ ~ ,I .

~ -- -- I

~ '"' v .,., VI ,... --...• ...• - ...• ,..

~ v - - - r.J

,tJ • ~ -U ~ ~ .- ...-.--r-.B

-. .--- . .-- I

57

2

I I.--I

3I I ·~

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.,I

r- -- . .~

I -....

I I

T "~ ~

.." .-IeJ ----

V1 ~

\I

-41"

-

1,

? -4f-4f ·1I' " . -. ~-. "';." v

'1111!' •• ---- ----"fJ •• ••

.132",

'"' h

U--

~

",

. ~.~ ~ I ------'-'

.-I ~" ~ '! ----eJ ---- -~ .-- .--. -." ~

- ..-j.... -", .... .....• - • -

~- .. ..~ .. •....

• ..~ .. •1'. '" - - - ~t-., I.f

• • •fJ •

s 0 o ,03 -· 0-." , ~-r-••• - /7 " . . I I

-~ -~ I ~

1eJ

~

'"' V -•••.

..-j . CO t. t.- ·I' "

-If I ~" v -,f -If -t!,,~ .~

240. The BurgomasterSwedish Song

~. . ~. .o

58

o

3

2

o V

Skips across one or two strings

V~~I 1--

~~~:~~-~U~

~2 V

~~O :If ~r-------7o :11

1) at the Nut

~----=i •• :~

Exercise for change of bowat the Nut and Tip, developing flexibility of the wrist

9

B

244. Dolly's Little Minuet

A

o

" J.I, 3 ~~ 1ill , - lS ,- .-I - - - r- I I •r '" .... .-I - -, - r- •.~ \T - ."..- .

@) I 1'- -- •• ..• =4i -0 ...

,

" J.I, r-loWl - - ,.. .-. , , I I •~ '"

.. .. -. •'-' IT - - .-I

'cV -+- • • - -I=4i

... ••

•o

1

•

• , I

2 1 o I .l. - 11 2.

• •• •

Exercise across two strings

at the Nut ,.,••••

) at the Tip

••

o

••

u0,., ,.,

• •• •

U U

Exercises for different Dynamic Expression

forte: Play nearer to the bridge with slightly increased Bow-pressure.

Piano: Play nearer to the fmgerboard with diminished Bow-pressure.

61

••

••

••

••

••

frorte piano

I I I I I 0n0 0- n e-

n e-

rr::te piano e-

bt-44J nI0

I0

I I0 ()

r~te piano

I0

In

I I I I I0 0 0 () 0

rr~:e piano

I ~ F? I0 e- O - - -e- O n

Scale of E minor

~~ :~n :1255.

~~t t 1£ r 10 :lI§!~ *=ti~~~

62

TEQHNrQUE 1)EtJELOPHENT

D Major scale

D Major broken thirds

1\ JJ. - n n -•• - I.,. ~ - ..•. r: I•-....~ ~ , ..• '-~ 1- =r ~:;. I.~'17 'T ."'" '" ~ ~.•. I.

f) - ~ ""l: -6 t. ... t. -6 ""l: ~-

""l'.j ""l'.j

D Major scale

G Major broken thirds

Major scale

Major broken thirds

Play the scales and broken thirds with the rhythms and bowings listed on the next page. Be sure to play theseI'byIlhms and bowings with good bow division.

63

4 2 34 4 4

1. J J J J 9. J J 17. J J Jr-I , r-I ,

2. J ~ J ~ 10. d 18. d.

3. d J J 11. J 19. J nJ4. J J d 12. nJ 20. J J n5. JmJ J 13. nn 21. nJ J6. J J J J 1"4. J J 22. J J J. . . • • . . • •------ ---- ~ ---------7. J J J J 15. J J 23. J ~ J. • • .----- .--- "-' ---------

BOW DIVISIONS

Whole Bow = W.B. Upper Half = U.H. Lower Half = L.H. Middle = M.

8. Slur 4 notes 16. Slur 2 notes 24. Slur 3 notes

64