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On an Harmonic Basis

Por

ViolininSV PARTS

by

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l!

Contents of

Book III*

INTERMEDIATE STUDIESFROM THE 2nd TO THE 7th POSITION

Price Each Part

$1.75

PART VII: CHROMATIC SHIFTING onone and on two Strings, with Controlling

Open String.—The Augmented Second.—Harmonic Minor Scales, with Bowing-Exer-cises for Detache,Legato, Staccato and Spiccato.

PART VIII: CONSONANT CHORDS:Placing the Fingers for the Double-Stop ofthe Perfect Fifth, with Exercises for Bow-ing.—Preparation of the Double-Stop ofthe Perfect Fifth.—The Major and the MinorTriad in Double-Stops.—The Brolien Triad

in various Keys, with Changes of Bowing.—DISSONANT CHORDS: The Diminish-

ed Triad, with Enharmonic Changes, in

Single Tones and Double-Stops.

PART IX: The Diminished Triad contin-

ued.—The AugmentedTriad in Single Tonesand Double Stops, with Exercises for

Fingering and Bowing.

PART X: The Chord of the Dominant Sev-

enth in all Keys.—The Chord of the Dom-inant Seventh in Arpeggios through the

Circle of Fifths in all Positions, with vari-

ous kinds of Bowing.—The Chord of the

Diminished Seventh in various Keys, with

Exercises for Fingering and Bowing.

PART XI: The Chord of the Diminished

Seventh continued.—Uniform Shifting of

Fingers on one String, with a Controlling

Open String.—The same on two Strings.

—

Shifting of the Double-Stops of the Dimin-

ished Fifth, the Diminished Seventh,the MinorThird and the Major Sixth, with a Controll-

ing Open String.—Exercises for Shifting

Positions and Finger-Exercises employing

different Combinations of Stops for the

Chord of the Diminished Seventh.—Stretch-

ing of Fingers.

PART VII.

2nd - 7th Position.

Contents.

Chromatic Shiftings on one and ontwo strings, with controlling openstring, in the 2n-d - 7t-h position.

The augmented Second in the 2&d -

7t-h position.

Harmonic Minor Scaleswith bowing-exercises for Detache, Legato, Staccato

and Spiccato in the 2nd - Imposition.

+©+

. 13. /?2-2-

ABTEILUNG VII.

2.- 7. Lage.

Inhalt.

Chromatische Riickungen auf einer

und aufzwei Saiten, mit kontrolie-

render leerer Saite, inder 2.-7. Lage.Die iibermiissige Sekunde in der

2.-7. Lage.Harmonische Moll-Tonleitern mit

Bogeniibungen fur Detache, Legato,

Staccato und Spiccato in der 2.-7. Lage.

—-+©+Chromatic Shiftings on one string

- in the 2nd - 7th position.

Chromatic shiftingwith the 2 n_d and the 3rd finger,

keeping the l 3-* finger on the string.

2nd Position.

ChromatischeRiickungen auf'einerSaitejn\dqr2.-7. Lage.

1.

Chromatische Riickungdes 2. und 3. Fingers

mit Liegenlassen des 1. Fingers

2. Lage.

PARTIE VII.

3me _ 7me Position.

Table des Matieres.

Glissements chromatiques sur uneet sur deux cordes, avec controle d'unecorde a vide, a la 2m.e -7 In

.e position.

La Seconde augmentee a la 2m.e —7 nle position.

Gammes Mineures Harmoniques avecexercices du coup d'archetpour le Detache,

Legato, Staccato et Spiccato a la 2me-7me position.

+0+-

Glissements chromatiques sur une cordea la 2 1?e -71°e position.

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10

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Sevcik Op. 11, VII

Chromatic shiftings

on two strings


3r.d Position.

m-VO. fl-f-

2.

Ghromatische Ruckungen

auf zwei Saiten


3. Lage.

& fe £

13


sur deux cordes


3me Position.

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Sevcik Op. 11, VII

H

3. ^pFn#-*-»i

«#» i

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1

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Sevcik Op. 11, VII

Chromatic shiftings

on two strings

with, controlling open string.

4th Position.

3.


auf zwei Saiten

mit kontrottierender leerer Saite.

4. Lage.

15

Grlissements chromatiquessur deux cordes

avec controle d'une corde a, vide.

4"le Position.

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Sfeteete? SW^H 4 °

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Sevcik Op. 11, VII

16

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Sevcik Op. 11, VII

17

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o o

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Sevcik Op. 11, VII

18

Chromatic shiftings

on one and on two strings


5t-h Position.


auf einer und auf zwei Saiten


5. Lage.


sur une et sur deux cordesavec controle dune corde a vide.

5™e Position.

IV.1

kr J J g ' I 1 r J' •

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l\\

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Sevcik Op. 11, VII

19

3.^^ s-sifiiittf iCjr^ M%& |ii^,

fp^r i ff*f i^r n^ r r^i rr^iI I I Ua In I in In I In In I I n In ~~

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Sevcik Op. 11, VII

20

n'£ **^ - -b« „£ „^ t)£ ^££fe»-&

19- #»-•—

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Sevcik Op. 11, VII

2J

Chromatic shiftings



6th Position.

Chromatisehe Buckungen

auf einer und aufzwei Saiten


6. Lage.


sur une et sur deux cordes

avec eontrole d'une corde a vide.

6m.e Position.

:il_2:

£. tt#fg g te£? tef£ ££? ^#? te:z . : e

1. BBS

a£ teg j #g| te . #te # * £ # #te te£ £ :z € £ := £ £ :z £ £ -- € £ :z £ .te

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Sevcik Op. 11, VII

22

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Sevoik Op. 11, VII

Chromatic shiftings



7^ Position.

1 u2

6Chromatische Riickungen

auf einer und aufzwei Saiten


23

7. Lage.


sur une et sur deux cordes


<te * At ite

7m.e Position.

L#£

l. £B£

mtee ete £te fete £te terte e* te te

— & te tee te^ gjjjjj te£%£ £%¥fe £fe^*

i ggte te£fe £££ i ££te ^£fe ££S ££te ££fe^E mE=K

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Sevcik Op. ii, VII

24

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Sevcik Op. 11, VII

25

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fSevcik Op. 11, VII

26

The augmented Secondin various minor keys.

2n_d Position.

l

Die iibermdssige Sekundein verschiedenen Moll-Tonarten.

2. Lage.

La seconde augmentee

en divers tons mineurs.

2me Position.

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27

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3 r_d Position.

Die iibermissige Sekundein verschiedenen Moll-Tonarten.

3. Lage.

La seconde augmenteeen divers tons mineurs.

3m-e Position.

4h 1 r-t

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28

o 3

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$* Position.

Die ubermassige Sekundein verschiedenen Moll-Tonarten.

4. Lage.


4m.e Position.

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Sevcik Op. 11, VII

29

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Sevcik Op. 11, VII

30


5^ Position.

IV. i

Die Uberm'dssige Sekunde

in verschiedenen Moll - Tonarten.

5. Lage.

La seconde augmentee

en divers tons mineurs.

5me position.

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31

4 III.

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Die iibermassige Sekundein verschiedenen Moll-Tonarten.

6. Lage.


6me Position.

IV. 4l

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i & J>+tfe£ ffetW i^#fc£ *£#£!*fffW^ffmff ,^^

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7th Position.

Die iibermassige Sekundein verschiedenenMoll-Tonarten.

7. Lage.


7™e Position.

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II.

1

33

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1

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Sevcik" Op. 11, VII

34Harmonic Minor Scalesbeginning on each step

of the scale through all key$,

with bowing-exercises.

2nd Position.

Harmonische Moll - Tonleitern,

ausgehend vonjeder Stufeder Tonleiter in alien Tonarten,

mit Bogeniibungen.

2. Lage.

Gammes mineures harmoniquescommencant sur chaque degre

de la gamme dans tous les tons,

avec exercices du coup d'archet.

2m.e Position.

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Sevcik Op. 11, VII

35

m 12. T

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36

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rn^ m

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r ff'rTf^^

Sevcik Op. 11, VII

Harmonic Minor Scalesin all keys


3r.d Position.

Harmonische Moll - Tonleitern

in alien Tonartenmit Bogeniibungen.

fcH11

i

3. Lage.

Gammes mineures harmoniquesdans tous les tons,


3me Position.

37

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r 2_

i J^cjxrr

j^fT^n Q JiTjii

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2 o o

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1 jp mJJ7

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Sevcik Op. 11, VII

3. 1.

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°i i us "i

T 2f \Tidi n prfipf7}-mm

S£P f[} JTTi

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J

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Sevcik Op. 11, VII

#§31 1

I

1 #

P U* i ^j, j.

1 4

39

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2= JT^r fJJT^

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ifc en—

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Trr^rriî

»i ( i gy § i

jr»^{jiJj'jj-jjj^ra. g£Ml^Sevcik Op. 11 VII

40Harmonic Minor Scales

in all keys


4th Position.

Harmonische Moll-Tonleitern

in alien Tonarten

mit Bogeniibungen.

4. Lage.

Gamines mineures harmoniquesdans tons les tons,

avee exercices du coup d'archet.

4m-e Position.

fcfeE \ \ nl^nJ g ,J H J J Jjti ^ ^ ^

'" j^aj rrcrccjjircfrxrTrtrr^ircf^^tt

. . » g=e

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,

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«*fe£= ffirr crrrrrir r_r'rtrff ffrrl^*pssi pg

f jj^TrlrnflUcjif fcflrP..-.N,.-.Frrf0

*^ Three -quarters of bow length

Sevcik Op. 11, VII

' 2>rez Viertel Bogenldnge.\

Trois quarts d'archet.

2I 2-4^

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T

41

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te

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Sevcik Op. 11, VII

42

W^m ^ * I m^m nn

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*&4 4

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u. m m^ rrn i j m g r»& s s** ttf^f j .. '—»-

»r2rTOri£ri

r*r?r-ifff £rrf_#ife! gg£ PS

Sevcik Op. 11, VII

43



5th Position.

III.

Harmonische Moll-Tonleitern

in alien Tonartenmit Bogenubungen.

5. Lage.



5me Position.

& $$&- r is rn i_\ 1 & ujn n-nS^ BE

21 2.

1 21 I-T 2

osj \ u jtti 1 1 mm mss wt=+e &

mc!crrrCfci^ l rc!fli^#

tfr g rir.rrf/1^s

«r-^ r2!rrr rr r?_£; 1

rtr'ricfItr%Rp£

CT^*

II.

3 IV.

I I 9- I 114: I EEg ^ ^ &W- ^m=Z2 2=

S'evcik Op. 11, VII

y rpBUl^

SbeIII.-2-

1 1T i„

1- I3 1

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J ^[X» r * * :^s^m

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fete p^f | i r]2; i r^rr^rf r^fffr i

ffrrrff f fftS>iSte^

ji.1^ ffffj^rrr

xt.

teas

Sevcik Op. 11, VII

45

III.

wm ^Bl j..

T 3

wz.m& § TO I J /Irr* ^pe i a—"^ #

£ jJciiffg cgr i rcir fxfrrtrfiijn

#Al<» ^ tflPp ^ K|» g g fag^^U r 'U* Jm

fcfc?

ii.

2

©X M -

gggp rOTJU J?j

l ^^'OX §S=£2.

4

III.

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wt :;pfp«Ff# S tf^#Ute^S

rtfTffftfffiipg

Sevcik Op. 11, VII

46



6^ Position.

III.2

Harmonische Moll-TonleiUmin alien Tonarten

mit Bogeniibungen.

6. Lage.


avee exercices du coup d'archet.

6m* Position.

m J?ni

j in a ii

rLgj^n'pff ^ mg

^ IJ J^cjHhi.3 ^m

i

Tmm^m^mirrr fTt D ms # 2-

$£££*: #£!£££«r rjTif?T frrm i r rrtfnff ffto?

, r crCfTf Ijflfr.

g riffffrr^?i

rTrtf^f ffCtTq

SI. S i m m tfrif?

Sevcik Op. 11, VII

47

IV.

4,

s ^ dr;r Lfcî^ppg#rff-s ^=^

III.

4^ <p ., _;

ttîsJJi LTCJCCJ* '

"r LTEg^=^

IS 3!s LrCxjcj |J JlÎV.

2

j,î J"3HE S^g s^- g HP = F g - ^ s J m g H "-= F g ^s2t

ftt-rn

Sevcik Op. 11, VII

II.

jdWttrru)3, 1

3 i

3amcr Ss m^

in.1 2

•»'U t m lui^vt frr r

HAi fpf i ricff TfrttrrfrfW § FfQ^rri

ffrfn?jfr i r

?/rc!ffftrr^ri

ftftfft? fffcf\

w IV.

fe3^3 fe^* 1W s ^^mo 3 =ZZ

M pi* crffrrfc» t j£g

Ute^^*fe&aS Se jjJS

ttp f: «? ^ TT

Sevcik Op. 11, VII

49



7t.h Position.

Harmonische Moll - Tonleitern

in alien Tonarten

mit Bogeniibungen.

7. Lage.

Grammes mineures harmoniques

dans tous les tons,


7m.e Position.

«rgriffTffrftrir r

?rrfTf ffffirirgrfrf f fffg^

f t\ttIto USfe ^g^g isii.^ e# *r.rr qS^ ^ ^&

»rrff frr rr ri

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:«£

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*.te £"!?>•.

^#3 tr

ni.3

i -s-

#£=jj

~um1^ ?> rf»f#j^ii.

LifLrN-lfrer-LjSevcik Op. li, VII

50

IV.

Se * J i i -* J j^ p f?*P r r r> p-^i k .~7

=» > i ^ i. s- 1 ^^r f rr ^

ete *'' r^^^^rj^Yir^^^' ^fCQr i*^rff^' "^ ^

^min._2

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fesi

III.

2_

SP ¥#gHii£ HPi S=F

Pfffrr iTrf^

ft 4fp£| a S£eppsSevcik Op. 11, VII

II.

1

51

t&mtt 2z ^rJUTû^cirrrj

î.V' gtefc?

rarfer^ri^craf-jfffcrff^#PlT»^ *

s^=agP Si telle^S^^**a

in.i i

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J'ltS^jttx £

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rrrfit

*t &*mm ti m L i »-' Ll ' &mi»e e

^^Sevcik Op. 11, VII

Abbreviations and Signs.

Designation of the Length of the

Bow by means of fractions:

Whole Bow.

Half Bow.

First Half.

Second Half.

One Third.

§ Two Thirds.

I Firfet Third.

I'Second Third,

i Third Third.

5 One Quarter.

3

4 Three Quarters.

1

: ? "|- First, Second, Third, Fourth4 4 4

2. 3

Quarter.

Second and Third Quarters.

H Down-bow.

V Up-bow. 1)

— Broad Bow.

Short, detached (staccato),

hammered (martele)

.

" Springing, bounding,

(sautille; spiccato; saltato).

) Lift Bow.

/ Kunstpause (Luftpause) ?)

I First String, E.

H Second String, A.

HI Third String, D.

IV Fourth String, G. 3)

o Open String.

Sul E,_onthe E-string.

i First Finger remains on string.

, The little hook indicates which

finger is to remain on string.

M. Middle of the Bow.

Fr. At the Nut.

Sp. At the Point.

Abkiirzungen und Zeichen,

Bezeichnung der Bogenlange durch

Bruchzahlen.

Cramer Bogen.

Halber Bogen.

Erste Hdlfte.

Zweite H'dlfte.

Ein Drittel des Bogens.

Zwei Drittel des Bogens.

Erstes Drittel.

Zweites Drittel.

Drittes Drittel.

Ein Viertel des Bogens.

Drei Viertel des Bogens.

|-

|-

|" Erstes, zweites, drittes, vier-

tes Viertel des Bogens.

—=£-" Zweites und drittes Viertel.

n Hernnte?sfrich

.

V Hinanfstrich

.

l)

— Breit gestossen (gezogen).

Abgestossen, gehdmmert (tnartele

staccato).

" Springend, geworfen (sautille;

spiccato)

.

) Bogen heben.

I Kunstpause (Luffpause) 3)

I Erste Saite, E.

H Zweite Saite, A.

m Dritte Saite, D.

IV Vierte Saite, G. 3)

o Leere Saite.

Sul E, Auf der E-Saite.

l Liegenlassen des ersten Fingers.

Liegenlassen des Fingers anfwel-

chen das Hakchen zeigt.

M. Mitte des Bogens.

Fr. Am Frosch.

Sp. An der Spitze.

Abreviations et Signes.

Division de l'archet au moyen de

fractions

.

i

i

i

31.

2

2.

21

3

%3

1.

3

2.

3

3.

3

1

43

4

1. 24 4

2. 8

4

n

V

Tout l'archet.

Demi- archet.

Premiere moitie.

Seconde moitie.

Un tiers de l'archet.

Deux tiers de l'archet.

Premier tiers.

Deuxieme tiers.

Troisieme tiers.

Un quart de l'archet.

Trois quarts de l'archet.

j'|

- Premier, deuxieme, troisieme,

quatrieme quart.

' Deuxieme et troisieme quart.

Tirez

Poussez. 1)

Largement.

Bref, martele (staccato)

.

" Sautille (spiccato).

) Levez l'archet.

/' Kunstpause (Luftpause)s)

I Premiere corde, Mi.

H Deuxieme corde, La.

DJ Troisieme corde, Re.

IV Quatrieme corde, Sol. 3)

o Corde a vide.

Sul Mi,_ Sur le mi.

l Retenez le premier doigt sur la corde.

Retenez le doigt indique par le

crochet.

M. Milieu de l'archet.

Fr. Au talon de l'archet.

Sp. A la pointe de l'archet.

1) Unless otherwise indicated, the first

measure begins at the nut.8) Lift Bow and make a brief rest.

3) No practising should be done on strings

not true in the fifths.

*) Ohne JSezeiehnung iter Siehtung begin/it

tfer- Anfangsta/ct iwitner aw Frosch.

*) Bogen heben und kurze J^anse tnachen

.

3) Airf ntcht qnintenreinen Saiten soil nicht

gettbf wertfen.

*) Faute d'indication speciale on commencela premiere mesure au talon.

3) Levez l'archet en faisant un bref silence.

3) On ne doit jouer que sur des eordes absolu-

ment jusles.

CONTENTS OFSCHOOL OF INTONATION

By OTAKAR SEVCIK

OPUS II

CLASSIFICATION OF THESUBJECT-MATTER.

Part I —Introduction to the 1st Position.

" Ila —1st Position.]

- H51

IS PoStion!Supplementary*

." IV —1st Position. J

*Part V—The rhythmic MajorScales from Parts Ila and lib.

—

Pieces (1st position, Grade I)

with piano.2

" V —Introduction to the 2d-7th Posi-

tion. Supplementary: Parts lib,

III and IV; also the 2d violin tothe 29 Duettinos from Parts I, Ilaand lib.

" VIa —2d-7th Position. ) Sunnlementarvt" Vlb —2d-7th Position. ]Supplementary!

f40 Bohemian Melodies in the 2d-

7th position.

" Vic —2d-7th Position. — 40 BohemianMelodies. Supplementary: Parts

Via and Vlb." VII —2d-7th Position.—Supplementary:

Part XII (Introduction to Shift-

ing).

" VIII —2d-7th Position.

" IX —2d-7th Position. "I

"' X —2d-7th Position. } Supplementary§" XI —2d-7th Position. J

§Part XII—The 2d violin to the 40Bohemian Melodies (Part Vic).—W. A. Mozart, Sonatas for vio-

lin and piano. No. 4, 7, and others.

" XII s —2d-7th Position.—Introduction toShifting. Supplementary: Sonatasof W. A. Mozart, Nos. 4, 7, andothers.

" XIII 4—Transitional Tone used in Shift-

ing—Diatonic Scales in a Varietyof Forms through 3 Octaves.Supplementary: Concert-studies:Rode, Concerto No. 6; Viotti,

Concerto No. 23; Pieces fromGrade III.

" XIV —Intonation of Double Stops. Sup-plementary: Continuation of Con-cert-studies and Pieces fromGrades III and IV.

1 Because the sense of rhythm varies in indi-

viduals, the exercises in Parts Ila and lib maybe studied independently, without keeping pacewith the parallel exercises for the left hand.In this case the omission of these exercises inbowing must be made up in the followingParts.

2 It is of great importance for the beginner toplay frequently with piano accompaniment.The difference in tone-color between the violin

and the piano, the harmonic structure of themusic, the fine nuances in the piano-part, all

tend to guide, even urge, the beginner towardpure intonation, proper crescendos and decres-cendos, and correct accentuation. Thus he is

almost compelled to produce a more beautifultone and to render the music with taste. Forthese reasons he may study, even at an earlystage, in connection with Parts II-IV corre-spondingly easy pieces with piano accompani-ment.

2 To be studied concurrently with Parts Via,Vlb, Vic and VII.

4 To be studied concurrently with Parts VIII,IX, X and XI.

EINTEILUNG DESLEHRSTOFFES

Abteilung I —Einjiihrung in die erste Lage." Ha —1. Lage. 1

" lib 1 — 1. Lage. I Nebenbei" III — 1. Lage. \

vorzunehmen*IV —1. Lage. J

"Abt. V—Die rhythmisierten Dur-Tonleitern aus Abt. Ila undlib.—Vortragsstiicke (1. Lage,

Stufe I) mit Klavier.'

" V —Einjiihrung in die 2.-7. Lage.Dazu: Abt. lib, III und IV,

soivie die ziveite Violinstimmezu den 29 Duettinen aus Abt. I,

Ila und lib.

Via —2.-7. Lage. \ _.Vlb -2.-7. Lage. \

DaX^f40 bohmische IVeisen in der

2.-7. Lage.

" Vic —2.-7. Lage.—40 bohmische Wei-sen. Dazu : Abt. Via und Vlb.

VII —2.-7. Lage.—D azu: Abt. XII{Einjiihrung in den Lagenviech-

set).

ge.Age. >

ge. J

Dazu%

VIII -T-1.-1. Lage.

IX —2.-7. LageX —2.-7. Lage.XI —2.-7. Lage.

%Abt. XII—Die ziveite Violin-

stimme aus den 40 bohmischenIVeisen (Abt. Vic).—W. A.Mozart, Sonaten fur Violine

u. Klavier, Nr. 4, 7, u. a.

XII' —2.-7. Lage.—Einjiihrung in denLagenivechsel. Dazu: Sonatenvon W. A. Mozart, Nr. 4, 7, u. a.

XIII* —Lagenverbindungston. Diatoni-sche Tonleitern in verschiedenerForm durch 3 Oktaven. DazuKonzertstudien : Rode, KonzertNr. 6; Viotti, Konzert Nr. 23und Vortragsstiicke aus der 3.'

Stufe.

XIV —Intonieren der Doppelgriffe.

Dazu: Fortsetzung der Konzert-studien und Vortragsstiicke ausder 3. und 4. Stufe.

1 Da die rhythmischen Anlagen nicht bei jeder-

mann die gleichen sind, konnen die rhythmischenVebungen au Abt. Ila und lib selbstdndig vor-

fiommen vuerden, ohne mit den gleichlaujen-

Uebungen fur die linke Hand gleichen Schritt

zu halten. In diesem Falle jedoch sind diese Bo-geniibungen bei den folgenden Abteilungen nachzu-

holen.

2 Hdufiges Spielen mit Klavier ist fur den An-janger von grosster Wichtigkeit. Die Klangver-schiedenheit zivischen Geige und Klavier, die vollen

Harmonien des Stiickes, die feine Nuancierung in

der begleiienden Klavierstimme leiten und drdngenden Anjanger zum reinen Intonieren, zum An-schivellen und Abschvjdchen, zum Akzentuieren derTone. Er ivird geradezu gezivungen den Tonschon zu bilden und das Musikstiick geschmackvollvorzutragen. Deshalb kann man schon neben Abt.II—IV entsprechend leichtere Heine Stiicke mitKlavier vornehmen.

3 Neben Abt. Via, Vlb, Vic und VII vorzu-

nehmen,4 Neben Abt. VIII, IX, X und XI vorzunehmen.

ARRANGEMENT DESMATIKRES.

Partie I —Introduction a la premiere poti-

tion.

'.'. \\t ~\Tt S05'.'! "-} Matieres

ttt "J" £OS'!'0n -

j.Supplemen-

JJ,1 -

,

lre P08;*? "- taires.*" IV —Ire Position. J

Partie V—Les Gammes majeuresrythmiques des Parties Ila et

lib.—Compositions (Ire posi-

tion, Degre I) avec piano. 2

" V —Introduction a la 2me-7me Po-sition, Matieres supplemen-taires: Parties lib, III et IV;aussi le second violon des 29

Duettini des Parties I, Ila et

lib.

" Via -2me-7me Position.! J^H6™!,

" Vlb -2me-7me Position.]Su^^n-

|40 Melodies bohemiennes dansla 2me-7me position.

" Vic —2me-7me Position.—40 Melodiesbohemiennes. Matieres supple

-

mentaires: Parties Via et Vlb." VII —2me-7me Position.—Matieres

Supplementaires: Partie XII(Introduction au demanche).

" VIII —2me-7me Position." IX —2me-7me Positon. } Matieres" X —2me-7me Positon.

[Supplemen-

" XI —2me-7me Positon. J taires.§

§Partie XII—Le second violondes 40 Melodies bohemiennes(Partie Vic).—W. A. Mozart,Sonates pour violon et piano,Nos. 4, 7, etc.

" XIIs —2me-7me Position.—Introduc-tion au demanche. Matieressupplementaires : W. A. Mo-zart, Sonates pour violon et

piano, Nos. 4, 7, etc." XIII*—Note de transition.—Gammes

diatoniques en diverse s formesparcourant 3 octaves. Matieressupplementaires : £ t u d e s deConcert: Rode, Concert No. 6;Viotti, Concert No. 23; compo-sitions du degre III. .

" XIV —Intonation des doubles cordes.Matieres supplementaires: Con-tinuation des £tudes de Concertet compositions des degres IIIet IV.

'- Le sens du rythme n'etant pas le meme cheztous les individus, il est possible d'etudier les

exercices rythmiques des Parties Ila et lib in-

dependamment, sans egard aux exercices paral-

lels pour la main gauche. Dans ce cas il fautcompleter plus tard ces exercices d'archet pen-dant l'etude des parties suivantes.

2 Pour le commencant il est de la plus grandeimportance de jouer souvent avec accompagne-ment de piano. Le timbre different du violon

et du piano, les accords pleins de la composi-tion les nuances de l'accompagnement, tout cela

conduit, et meme entraine l'eleve a une intona-

tion juste, a faire les crescendi et decrescendi, a

observer l'accentuation des notes. Tous ces

details le forcent a cultiver une belle^ sonorite

et a interpreter les ceuvres avec gout. Pourcela il peut deja commencer l'etude de pieces

faciles avec piano conjointement aux exercices

des Parties II-IV.3 A Studier conjointement aux Parties Via,

Vlb, Vic, VII.

*A etudier conjointement aux Parties VIII,

IX, X, XI.


Por

lOIiflinXIV PARTS

by




CONSONANT CHORDS:Placing the Fingers for the Double-Stop ofthe Perfect Fifth, with Exercises for Bow-ing.—Preparation of the Double-Stop ofthe Perfect Fifth.—The Major and the MinorTriad in Double-Stops.—The Bro/cen Triad



Sinde Tones and Double-Stops.


ued.—The Augmented Triad in Single Tonesand Double Stops, with Exercises for


Price Each Part

$1.75



Circfe of Fifths in all Positions, with vari-








—




Positions and Finger-Exercises employingdifferent Combinations of Stops for the


ing of Fingers.

Copyright—Property of the Publisher

HARMS, Incorporated

/y y^r

PART VIII.2d-?th Position.

Contents.

Consonant and Dissonant

Chords.

CONSONANT CHORDS: Placing the

fingers for the double-stop of the

perfect Fifth, with bowing-exercises

in the 2<J - 4th position. - Prepara-

tion of the double-stop of the per-

fect Fifth when later on the lower

or upper tone of the Fifth is sound-

ed, in the 2i-4tJj position. - TheMajor and Minor Triad in double-

stops in the 2<I- 7Q position.- Thebroken Triad in various keys, with

changes of bowing, in the 2^-7'i1 po-

sition.

DISSONANT CHORDS: The diminished

Triad with enharmonic changes in

single tones and double-stops through

various keys in the 2<? -?th position.

The placing of the fingers for the

double-stop of the perfect fifth in

the 24 Position.

ABTEILUNG VIII.

2.-2 Lage.

Inhalt.

Konsonierende und dissonierende

Akkorde.

KONSONIERENDE AKKORDE: Aufse -

tzen der Finger fiir den Doppelgriff

der reinen Quinte, mit Bogeniibun -

gen in der 2.-4. Lage.- Vorberei-

tung des Doppelgriffes der reinen

Quinte bei spdterem Erklingen des

unteren oder oberen Tones derQuinte

in der 2.-4. Lage.- DerDur-undMoll-

Dreiklang in Doppelgriffen inder 2t

7. Lage.- Der gebrochene Dreiklang

in verschiedenen Tonarten,mitStrich-

arten, in der 2- 7. Lage.

DISSONIERENDE AKKORDE: Der ver-

minderte Dreiklang mit enharmo-nischen Verdnderungen in einfachen

Tonen und Doppelgriffen durch ver-

schiedene Tonarten in der 2.-7. Lage.

1.

Aufsetzen der Finger fiir den Dop-

pelgriff der reinen Quinte in der

2. Lage.

PARTIE VIII.

2me_7me position.

Table des Matierss.

Accords consonants et

dissonants

ACCORDS CONSONANTS: Maniere

de placer les doigts pour la double

corde de la quinte juste, avec exer-

cices du coup d'archet, a la 2"le-4nie

position.- Preparation de la dou-

ble corde de la quinte juste, quand

le son inferieur ou superieur de la

quinte est jouee plus tard, a, la 2ISe-

4"Le position.- L'accorddetroissons

majeur et mineur en doubles cOrdes

a la2IBe-? IHe position.- L'accordbri-

se de trois sons en diversestonalites,

avec coups d'archet, a, la 2™-7v±e po-

sition.

ACCORDS DISSONANTS: L'accord di-

minue, avec changements enkarmo -

niques, en cordes simples et an dou-

bles cordes, en diversestonalites ala2me_7nie position.

Maniere de placer les doigts pour

la double corde de la quinte juste

a la 2™e Position.

Finger. Q ° l'T

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double-stop of the perfect fifthin the 3d Position.

2.

Aufsetzen der Finger fur denDop-pelgriff der reinen Quinte in der

3. Lage.


la double corde de la quiute juste a,

la 31"? Position.

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Sevcik Op. 11 VIII


double-stop of the perfect fifth in

the ^i1 Position.

Aufsetzen der Fingerfur den Dop-

pelgriff der reinen Quinte in der

4. Lage.


. la double corde de la quinte juste a,

la 4™e Position.

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Sevcik Op.U VIII

9

Tlie preparation ofthe double-stop

of the perfect fifth where the loweror upper tone is played later,as the

arrow shows.

2l Position.

Vorbereitung des Doppelgriffes

der rez'nen Quinte bei spaterem Er-klingen des unteren oder oberen

Tones, wz'e der Pfeil zeigt.

2. Lage.

Preparation de la double corde de

la quinte juste, quand la note infe-

rieure ou superieure est jouee plus

tard, comme l'indique la fleche.2me Position.

*) In repeating the measure the first noteis placed simultaneously with the last noteas a double-stop.

SevSik Op.llVHI

») Beim Wiederholen des Taktes wird dieerste Note zugleich mif der letzten als Dftp-

pelgriff aufgesetzt.

*) En repetant la mesnre la premiere note

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SevcikOp.llVIII

The preparation of the double-stop

of the perfect fifth in the

3r_d Position.

5.

Vorbereitung des Doppelgriffes der

reinen Quinte in der

3. Lage.

11

La Preparation deladouble corde

de la quinte juste a la

3™e Position.

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The preparation of the double-stop

of the perfect fifth in the

4th Position.

6.

Vorbereitung des Doppelgriffes der

reinen Quinte in der

4. Lage.

13

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Major and minor Triad in double-

stops in various keys.

2i Position.

Der Dur-und Moll-Dreiklang in

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15

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16

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3* Position.

8.


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SevCik Op. 11 VIII


4& Position.

l, l

9.


Doppelgriffen in verschiedenen T&n-arten. _ T

4. Lage.

3 4 3 l, l

17

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11.

Der Dur-und Moll- Dreiklang in

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6. Lage.

Accord de trois sons majeur et nii-

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Sevcik Op.U VIII

19

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7^ Position.

12.


Doppelgrz'ffen.

7. Lage.

Accord de trois spns majeur et mi-

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o b

20

Broken triads in various keys withdifferent kinds of bowing,

2i Position.

13.

ffebrochene Dreikl tinge in verschiede-

nen Toriarten mit Stricharten.

2. Lage.

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diverses tonalites, avec variantes

du coup d'arcliet.

2°Le Position.

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Broken triads with different kinds

of bowing.

34 Position.

M.

. -A 1, ,-V.

14.

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21

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r Sp. I *"r. i.

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Broken triads with different kindsof bowing.

4th Position.

22

j* X

15.

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4"2.e Position.

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Sevfiik Op. 11 VIII

1 —1 T

Broken triads with different kindsof ibowing.

7th Position.

Oebrochene Dreikl'dnge mit Strich-

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7. Lage.


7™ Position.

SevSik Op. 11 VIII

Dissonant chords.The diminished triad with enhar-monic changes in single notes anddouble-stops in various keys in the

24 -repositions.

19.

Dissonierende Akkorde.Der verminderte Dreiklang mit en-

harmom'schen Veranderungen ineirv-

fachen Tonen und Doppelgriffen durch

verschiedene Tonarten in der-S.-ZLage.

25

Accords dissonants.L'aecord diminue avec changements

enharmoniques en eordes simples et

en doubles eordes en divers tons a la2™e -7™.e position.

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26

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28 20.

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r^-^^*Sevcik Op.U VIII




Whole Bow.

Half Bow.

First Half.

Second Half.

One Third.

Two Thirds.

Firfct Third.

Second Third.

Third Third.

One Quarter.

Three Quarters.

3

1.

3

2.

3

8.

3

1

43

1

1. 2. 3. 4First, Second, Third, Fourth

Quarter.

^2" Second and Third Quarters.

n Down-lnw.

V Up-bow. 1)

— Broad Bow.


hammered (martele).



) Lift Bow.

/ Kunstpause (Luftpause) 3)

I First String, E.

H Second String, A.

HI Third String, D.


o Open String.

Sul E,_on the E-string.

i First Finger remains on string.

, The little hook indicates which



Fr. At the Nut.

Sp. At the Point.

Abkiirzungen und Zeichen.


Bruchzahlen.

i

i

i

31.

33.

31

3

331.

3

2.

3

3.

31

434

1.

4

2. 3

4

n.

/

i

ii

mIV

o

Sul

l

M.

Fr.

Sp.

Ganzer Bogen.

Hatter Bogen.

Erste Hdlfte.

Zweite Hdlfte.

Ein Drittel den Bogens.

Zwei Drittel des Bogens.

Erstes Drittel.

Zweites Drittel.

Drittes Drittel.

Ein Viertel des Bogens.

Drei Viertel des Bogens.

'••

I' £ Erstes, zweites, drittes, vier-


' Zweites und drittes Viertel.

Herunteisfrich

.

Hinaufstrich

.

x)

Breit gestossen (gezogen).

Abgestossen, gehammert (martele

staccato).

Springend, geworfen (sautille;

spiccato)

.

Bogen fieben.

Kunstpause (Luftpause) 3)

Erste Saite, E.

Zweite Saite, A.

Dritte Saite, D.

Vie7-te Saite, G. 3)

Leere Saite.

E, Auf der E-Saite.

Liegenlassen des ersten Fingers.

Liegenlassen des Fingers auf wel-

c/ien das Hdkclien zeigt.

Mitte des Bogens.

Am Froscfi.

An der Spitze.


Division de l'arehet au moyen de

fractions.

i

Ii

21.

2

2.

21

3

33

1.

3

2.

3

3.

31

43

41. 24 4

2. 3

4

n

V

Tout l'arehet.

Demi- archet.

Premiere moitie.

Seconde moitie.

Un tiers de l'arehet.

Deux tiers de l'arehet.

Premier tiers.

Deuxieme tiers.

Trolsieme tiers.

Un quart de l'arehet.

Trois quarts de l'arehet.

I' I'Premier, deuxieme, troisieme,

quatrieme quart.


Tirez

Poussez. 1)

— Largement.


.


) Levez l'arehet.




in Troisieme corde, Re.

rV Quatrieme corde, Sol. 3)

o Corde a vide.

Sul Mi,_ Sur le mi.


. Retenez le doigt indique par le

crochet.

M. Milieu de l'arehet.

Fr. Au talon de l'arehet.

Sp. A la pointe de l'arehet.





1) O/t/ie fiezezchnung der Kichtnng begittnt

rfer Anfangsta/ct iinwer am Frosch.

~) Bogen fieben und fcurze Pause wachen.

") Aaf -nicht quintenreinen Saiten soil nicht

geh'bf werden.

^) Faute d'indication speciale on commence

la premiere mesure au talon.

3) Levez l'arehet en faisant un bref silence.

3) On ne doit jouer que sur des cordes absolu-

ment justes.


By OTAKAR SEVCIK

OPUS I!



" Ha —1st Position.]

" iS1 l£ £ffi£ Supplementary*

" IV —1st Position. J

•Part V—The rhythmic MajorScales from Parts Ha and lib.

—


with piano. 2

" V —Introduction to the 2d-7th Posi-tion. Supplementary: Parts lib,III and IV; also the 2d violin tothe 29 Duettinos from Parts I, Haand lib.

" Via —2d-7th Position. )«. „.„„.,„+" VIb _2d-7th Position.

^Supplementary


7th position.

" Vic —2d-7th Position. — 40 BohemianMelodies. Supplementary: PartsVia and VIb.

" VII —2d-7th Position.—Supplementary:Part XII (Introduction to Shift-

ing).


" IX —2d-7th Position.]"' X —2d-7th Position. \ Supplementary§" XI —2d-7th Position. J


lin and piano, No. 4, 7, and others.

" XIIs —2d-7th Position.—Introduction toShifting. Supplementary: Sonatasof W. A. Mozart, Nos. 4, 7, andothers.


ARRANGEMENT DESMATIERES.

XIII*

XIV

-Transitional Tone used in Shift-

ing—Diatonic Scales in a Varietyof Forms through 3 Octaves.Supplementary : Concert-studies

:

Rode, Concerto No. 6; Viotti,

Concerto No. 23 ; Pieces fromGrade III.

-Intonation of Double Stops. Sup-plementary: Continuation of Con-cert-studies and Pieces fromGrades III and IV.


viduals, the exercises in Parts Ha and lib maybe studied independently, without keeping pacewith the parallel exercises for the left hand.In this case the omission of these exercises inbowing must be made up in the followingParts.

2 It is of great importance for the beginner toplay frequently with piano accompaniment.The difference in tone-color between the violinand the piano, the harmonic structure of themusic, the fine nuances in the piano-part, all



8 To be studied concurrently with Parts Via,VIb, Vic and VII.

* To be studied concurrently with Parts VIII,IX, X and XI.

Abteilung 1 —Einfiihrung in die erste Lage." Ila —1. Lage. 1" lib 1 —1. Lage. I Nebenbei" III — 1. Lage.

fvorzunehmen*

u IV —1. Lage. J

*Abt. V—Die rhythmisierten Dur-Tonleitern aus Abt. lla undlib.—Vortragsstiicke (1. Lage,

Stufe 1) mit Wavier?

V —Einfiihrung in die 2.-7. Lage.Dam: Abt. lib, III und: IF,sotuie die zvjeite Violinstimmezu den 29 Duettinen aus Abt. I,

lla und lib.

Vil HI: iZ. } f-ft40 bohmische Weisen in der

2.-7. Lage.

Vic —2.-7. Lage.—W bohmische Wei-sen. Dazu: Abt. Via und VIb.

VII —2.-7. Lage.—D azu: Abt. XII(Einfiihrung in den Lagenvjech-set).

VIII -r2.-7. Lage.

IX —2.-7. Lage.]X —2.-7. Lage. ) Dazu%

XI —2.-7. Lage. J

lAbt. XII—Die zweite Violin-

stimme aus den 40 bbhmischenWeisen (Abt. VIc).—W. A.Mozart, Sonaten fiir Violine


XIIs —2.-7. Lage.—Einfiihrung in denLagenvnechsel. -Dazu: Sonatenvon W. A. Mozart, Nr. 4, 7, u. a.

XIII4 —Lagenverbindungston. Diatoni-sche Tonleitern in verschiedenerForm durch 3 Oktaven. DazuKonzertstudien : Rode, KonzertNr. 6; Viotti, Konzert Nr. 23und Vortragsstiicke aus der 3.'

Stufe.

XIV —Intonieren der Doppelgriffe.Dazu: Foriseizung der Konzert-studien und Vortragsstiicke ausder 3. und 4. Stufe.

1 Da die rhythmischen Anlagen nicht bei jeder-mann die gleichen sind, konnen die rhythmischenUebungen aus Abt. lla und lib selbstdndig vor-

genommen vierden, ohne mit den gleichlaufen-

den Uebungen fiir die linie Hand gleichen Schritt

zu halten. In diesem Falle jedoch sind diese Bo-genubungen bei den folgenden Abieilungen nachzu-holen.

- Haufiges Spielen mit Klavier ist fiir den An-f'dnger von grossier Wichtigkeit. Die Klangver-schiedenheit zivischen Geige und Klavier, die vollen

Harmonien des Stuckes, die feine Nuancierung in

der begleitenden Klavierstimme leiten und dr'dngen

den Anf'dnger zum reinen Intonieren, zum An-schvcellen und Abschwdchen, zum Akzentuieren derTone. Er ivird geradezu gezvmngen den Tonschon zu bilden und das Musikstiick geschmackvollvorzutragen. Deshalb iann man schon neben Abt.II—IV entsprechend leichtere kleine Stiicie mitKlavier vornehmen.

3 Neben Abt. Via, VIb, Vie und VII vorzu-nehmen.

4 Neben Abt. VIII, IX, X und XI vorzunehmen.

Partie I

llalib 1

IIIIV

—Introduction a la premiere poii-

tion.

MatieresSupplemen-

taires.*

ViaVIb

Vie

VII

VIIIIXXXI

xn=

XIII

XIV

—Ire Position. }—Ire Position. !

—Ire Position, f—Ire Position. J

*Partie V—Les Gammes majeuresrythmiques des Parties Ila et

lib.—Compositions (Ire posi-tion, Degre I) avec piano. 2

—Introduction a la 2me-7me Po-sition. Matieres supplemen-taires: Parties lib, III et IV;aussi le second violon des 29Duettini des Parties I, Ila et

lib.

-2me-7me Position^M^"-2me-7me Position.]

Sur

e

e

m|n"

f40 Melodies bohemiennes dansla 2me-7me position.—2me-7me Position.—40Melodiesbohemiennes. Matieres supple-

mentaires: Parties Via et VIb.—2me-7me Position.—MatieresSupplemental es : Partie XII(Introduction au demanche).—2me-7me Position.—2me-7me Positon. | Matieres—2me-7me Positon. [

Supplemen-—2me-7me Positon. J taires.§

§Partie XII—Le second violondes 40 Melodies bohemiennes(Partie Vic).—W. A. Mozart,Sonates pour violon et piano,Nos. 4, 7, etc.—2me-7me Position.—Introduc-

tion au demanche. Matieressupplementaires : W. A. Mo-zart, Sonates pour violon etpiano, Nos. 4, 7, etc.

•—Note de transition.—Gammesdiatoniques en diverses formesparcourant 3 octaves. Matieressupplementaires : fi t u d e s deConcert: Rode, Concert No. 6;Viotti, Concert No. 23; compo-sitions du degre III.

—Intonation des doubles cordes.Matieres supplementaires : Con-tinuation des fitudes de Concertet compositions des degres IIIet IV.

1 Le sens du rythme n'etant pas le meme cheztous les individus, il est possible d'etudier les

exercices rythmiques des Parties Ha et lib in-

dependamment, sans egard aux exercices paral-lels pour la main gauche. Dans ce cas il fautcompleter plus tard ces exercices d'archet pen-dant l'etude des parties suivantes.

2 Pour le commensant il est de la plus grandeimportance de jouer souvent avec accompagne-ment de piano. Le timbre different du violonet du piano, les accords pleins de la composi-tion les nuances de l'accompagnement, tout celaconduit, et meme entraine l'eleve a une intona-tion juste, a faire les crescendi et decrescendi, aobserver l'accentuation des notes. Tcus cesdetails le forcent a cultiver une belle_ sonorite



des Parties II-IV.3 A etudier conjointement aux Parties Via,

VIb, Vic, VII.4 A etudier conjointement aux Parties VIII,

IX, X, XL

ViolininSIV PARTS

byI!

OP. 11.

Contents of

Book III.


Price Each Part

$1.75


Open String.—The Augmented Second.—Harmonic Minor Scales, with Bowing-Exer-cises forDetache,Legato, Staccato and Spiccato.

PART VIII: CONSONANT CHORDS:Placing the Fingers for the Double-Stop ofthe Perfect Fifth, with Exercises for Bow-ing.—Preparation of the Double-Stop ofthe Perfect Fifth.—The Major and the MinorTriad in Double-Stops.—The Broken Triad

in various Keys, with Changes of Bowing.—DISSONANT CHORDS: The Diminish-ed Triad, with Enharmonic Changes, in









Diminished Seventh in various Keys, withExercises for Fingering and Bowing.



Fingers on one String, with a Contra/ling


—






ing of Fingers.


HARMS, Incorporated62 WEST 45th STREET, NEW YORK

CHAPPELL &. CO., Ltd., LONDON, ENGLAND

Printed in U. S. A.

Copyright, 1922, by Harms Inc.

lUillilllllliiii

JjsMT

PART IX.

Dissonant Chords

in the 2nd -7th Position.

Contents.

, Continuation of the Diminished

Triad. The Augmented Triad in the2d-?th position in single tones

and in double - stops, with finger-

and bowing-exercises.

Dissonant Chords.

a^ The diminished triad in the 2d -

7th position. (Continuation of theexercises in Part VHI.)

ABTEILUNG IX.

Dissonierende Akkorde

in der 2.-7. Lage.

Inhalt.

Fortsetzung des vermindertenDreiklanges. Der iiberm'dssige Drei -

klangin der 2. -7. Lage in einfachen

Griffen und in Doppelgriffen,mit Fin-ger-und Bogenubungen.

Dissonierende Akkorde.aJ Der verminderte Dreiklang in der

2.-7.Lage.(Fortsetzung der tlbungen

der VLU Abteilung.)

1.


Die verminderten Dreikl'dnge:

Les accords diminues: i%***

PARTIE IX.

Accords dissonants

a la 2me-7me Position.

Table des Matieres.

Continuation de l'aecord diminue.

L' accord augmente a la 2H&- 7ffiepo-

sition en cordes simples et en doubles

cordes,avec exercices pour les doigts

et pour le coup d'arcbet.

Accords dissonants.

a) L'aecord diminue a la 2me-7me

position. (Continuation des exercices

de la Partie VIII.)

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3.(7)

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Sevcik.Op.li.K

N°8.Foll<ws.Folgt NZ8.

1A continucr avec le N<? £

12

2. Pos.

4.(8.)


Die oerminderten Dreiklange: jfc-j^_ %8 II

Les accords diminues-. y **

M.

2. Lage. /C i*

2. Pos. p»| - * yb<i»^^ -J-* b* —*"*

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13

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f ^f^^Sevcik.Op.ll.IX.

14

6. Pos.

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m &-*-*& *k L_b#£ b##££ «£ := :=:=£* ££*

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A coatinueiitinuer aveoleN?9.

5.(9.)


Die verminderten Dreikl'dnge:


2. Pos. _A O 3

f n\

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1 5i 2 I-

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Sevcik, Op.ll.IX.

16

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Sevcik, Op. 11. K.

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A continuer avecleN9J.O.

Sevcik, Op.ll. IX.

18

*>)The augmented triad in various

keys in the 2nd _ 7th position

.

2. Pos.

2. Las-e.

2. Pos.

s I s l

O 3 1 3 3 O

mb^Der ubermassige Dreiklang in

verschiedenen Tonarten in der2. - 7.

Lage.

The augmented triad of A minor:q ft

pDer ubermassige Dreiklang in A moll: /£ ™

°)L' accord augmente en diversestonalites a la, 2me_7me position.

=£ 3e33=:i;ffii«l 'I. J^ ,ff

p

L'accord augmente de La mineur'*

3 S'«*r t r

33a

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5. Pos. Q

5. Pos. v9

i t^J> £*4) ,«JJ4J»r cWfr rrj iM ^PBfelr it r" 1 nP?

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b b L*'N96.is to be taken before N9 3. in order to I *'NL6.istvor Nl2.vorzunehmen urn mit dam

|*'Le N96.doit etre etudie avarit le N92.pour

alternate with the diminished triad. - verminderten Dreiklang abzttwechseln.\

alterner avec l'accord diminue.Sevcik,Op.U.IX. is

I

J9

fe* «rp.r.fr .

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— N° 2. Follows.

A continuer aveeleN92.

The augmented triad of C minorDer iiberrnassige Dreiklarig in G ....

L' accord augmente d' Ut mineur-. «J '

G moll: 3a=

2. Pos. -A2. Lage. X (*

2. Pos. P

l. i

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Sevcik, Op.ll.IX.

4 *

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Sevcik, Op. 11. IX

r000

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6. Pos.

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3 3

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a sxN9 3. Follows.

j

fo^f Tv^r 3.

I Acontinuer aveoleN9?

8.(4.)

Tho .augmented triad of F minor: .

Der nbermassige Dreiklang in F moll; 3 [ \,\\ II

L accord augmente de Fa mineur

:

c

O2. Pos. f\

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, j|>.. £ 1I 1

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Sevcik,Op.U.IX'.

22

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Sevcik,Op.ll.IX.

23

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N°4. Follows.

I.fW,gtf NZ4.A continuer avec le N94.

9.(5.;

The augmented triad of B minor:

Her iiberm'dssige Dreiklangin H moll

L'accord augmente de Si mineur: 'Up2. Pos. _A O 1

iJ -HjiflgfiW . flr* i£

3 3,

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Sevcik.Op.il. IX.

i % ii

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Sevcik, Op.ll.IX.

3 3 o

It-' '

25

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Select "gft^-sg %^,pei *feft^^^^^^^ nrrfrm

2fe#N° 5. Follows.

A continuer aveo le N95.

10.The augmented triad of E minor:-

Her ubermassige Dreiklang in E moll:

L' accord augmente do Mi mineur:

2 - Pos-

__ m r f i a

2. Pos. yP I

1"^

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Sevcik, Op.U.IX.

26

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f=(2 r-0- wm m * g

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3r *y-Sevcik,Op.ll.IX.

-& "*.=* 1 _

itee

SH yiH

27

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m$0±m A mSevcik.Op.il. IX.

28

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Sevcik,Op.U.IX.

VI4^-4

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29

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1 —IIA continuer avecIeN?!!.

Sevxik, Op.il. IX.

TT

30 11.

The augmenled triad of D minor:g

Dcr uberm'dssige Dreiklang in D moll: /L ft} 8 :

L'accord augmeate de Re mineur: jfj "

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31

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Sevcik,Op.ll.IX.

33

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34

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35

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The augmented triad of Cjt minor.- «

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40

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Sevcik,Op.U.K.




Whole Bow.

Half Bow.

First Half.

l

1

5i.

3

§• Second Half.

§ One Third.

| Two Thirds.

g Firfct Third.

§' Second Third.

§ Third Third.

4 One Quarter.

\ Three Quarters.

1- f ||- pirst Second," Third, Fourth4 4 4 4 ' ' '

Quarter.

•^- Second and Third Quarters.

H Down-bow.

V Up-bow. 1)

— Broad Bow.


hammered (martele)

.



) Lift Bow.

/ Kunstpause (Luftpause) s)

I First String, E.

H Second String, A.

Ed Third String, D.


o Open String.


l First Finger remains on string.

i The little hook indicates which



Fr. At the Nut.

Sp. At the Point.

Abkiirzungen und Zeichen.

Bezeichnung der Bogenldnge durch

Bruchzahlen.

j Ganzer Sogen.

| Halber Bogen.

|" Erste H'dlfte.

§' Zweite H'dlfte.

\

§ Ein Drittel den Bogens.

| Zwei Drittel den Bogens.

s' Erstes Drittel.

Zweites Drittel.

Drittes Drittel.

Bin Viertel den Bogens.

3

3.

3

l

4

^ Drei Viertel den Bogens.

l.

4 4 4 41- 3. 3. 4. ErSfes^ z,weifes> drittes, vier-


2^p Zweites und drittes Viertel.

H Herunterstrich

.

V Hinaufstrich .J)

— Breit gestossen (gezogen).

Abgeslossen, ge/ta?nmert (martele

staccato).

ii Springend, geworfen (sautille;

spiccato).

) Bogen neben.

I Kunstpause (Luftpause) 3)

I Brste Saite, E.

H Zweite Saite, A.

DZ Dritte Saite, D.

IV Vterte Saite, G. 3)

o Leere Saite.

Sul E, Auf der E-Saite.

l Liegenlassen des ersten Fi?tgers.

Liegenlassen des Fingers aufweircnen das Hakchen zeigt.

M. Milte des Bogens.

Fr. Am Frosch.

Sp. An der Spitze.



fractions.

3. 3

4

n

V

Tout l'archet.

Demi- archet.

Premiere moitie.

Seconde moitie.



Premier tiers.

Deuxieme tiers.

Troisieme tiers.



'

I'|" Premier, deuxieme, troisieme,

quatrieme quart.


Tirez

Poussez. 1)

Largement.


.

" Sautille' (spiccato).

) Levez l'archet.




HI Troisieme corde, Re.

rV. Quatrieme corde, Sol. 3)

o Corde a vide.

Sul Mi,_ Sur le mi.


. Retenez le doigt indique par le

crochet.





measure begins at the nut.2)

Lift Bow and make a brief rest.



*) Ohne Bezeichnung de/' Bic/ttung 6eglnnt

der Anfangstakt itntner an? Frosch.3) Bogen heden und knrze Pause machen.3) Auf nicht quintenreinen Saiten soil nicht

geuat wet'den.

*) Faute d'indication speciale on commence




ment jusles.

CONTENTS OF

SCHOOL OF INTONATIONBy OTAKAR SEVCIK

OPUS II



" Ila —1st Position. "I

" lib 1 —1st Position. 1 q„„„i„„ j„ 1„„*" III -1st Position.

Supplementary*


*Part V—The rhythmic MajorScales from Parts Ila and lib.

—


with piano.2

" V —Introduction to the 2d-7th Posi-tion. Supplementary: Parts lib,


" Via —2d-7th Position. } RuDolementarvt" VIb —2d-7th Position. J

auPPlementaryT


7th position.

" Vie —2d-7th Position. — 40 BohemianMelodies. Supplementary: PartsVia and VIb.


ing).


" IX —2d-7th Position.]" X —2d-7th Position. } Supplementary§" XI —2d-7th Position. J

§Part XII—The 2d violin to the 40Bohemian Melodies (Part Vie).—W. A. Mozart, Sonatas for vio-


" XII s —2d-7th Position.—Introduction toShifting. Supplementary: Sonatasof W. A. Mozart, Nos. 4, 7, andothers.

" XIII 4—Transitional Tone used in Shift-



" XIV —Intonation of Double Stops. Sup-plementary: Continuation of Con-cert-studies and Pieces fromGrades III and IV.

1 Because the sense of rhythm varies in indi-viduals, the exercises in Parts Ila and lib maybe studied independently, without keeping pacewith the parallel exercises for the left hand.In this case the omission of these exercises inbowing must be made up in the followingParts.

- It is of great importance for the beginner toplay frequently with piano accompaniment.The difference in tone-color between the violinand the piano, the harmonic structure of themusic, the fine nuances in the piano-part, all






Abttilung I —Einfiihrung in die erste Lage.

" Ha — 1. Lage. 1

" lib 1 — 1. Lage. I Nebenbei"

III — 1. Lage.I

vorzunehmen*IF —1. Lage. J

"Abt. F—Die rhythmisierten Dur-Tonleitern aus Abt. Ila undlib.—Vortragsstiicke ( 1. Lage,

Stufe I) mil Klavier.2

" V —Einfiihrung in die 2.-7. Lage.Dazu: Abt. lib, III und IF,

sovjie die zvjeite Fiolinstimmezu den 29 Duettinen aus Abt. I,

Ila und lib.

Via —2.-7. Lage. \ n +VIb -2.-7. Lage. \

ZWtt40 bohmische Weisen in der

2.-7' Lage.

" Vic —2.-7. Lage.—40 bohmische Wei-sen. Dazu: Abt. Via und VIb.

VII —2.-7. Lage.—D azu: Abt. XII{Einfiihrung in den Lagenivech-set).


Partie I

Dazu§

XII'

VIII -^2.-7. Lage.

IX —2.-7. Lage.X —2.-7. Lage.XI —2.-7. Lage.

%Abt. XII—Die zweite Violin-

stimme aus den 40 bohmischenWeisen (Abt. FIc).—W. A.Mozart, Sonaten *fiir Violine


-2.-7. Lage.—Einfiihrung in denLagenivechsel. Dazu : Sonatenvon W. A. Mozart, Nr. 4, 7, u. a.

XIII4 —Lagenverbindungston. Diatoni-sche Tonleitern in verschiedenerForm durch 3 Ohtaven. DazuKonzertstudien: Rode, KonzertNr. 6; Viotti, Konzert Nr. 23und Vortragsstiicke aus der 3."

Stufe.

XIV —Intonieren der Doppelgriffe.Dazu: Fortsetzung der Konzert-studien und Vortragsstiicke ausder 3. und 4. Stufe.

1 Da die rhythmischen Anlagen nicht bei jeder-mann die gleichen sind, konnen die rhythmischenUebungen aus Abt. Ila und lib selbstdndig vor-genommen iverden, ohne mit den gleichlaufen-den Uebungen fiir die linke Hand gleichen Schriit

zu halten. In diesem Falle jedoch sind diese Bo-geniibungen bei den folgenden Abteilungen nachzu-holen.

2 Haufges Spielen mit Klavier ist fiir den An-fdnger von grbsster Wichtigkeit. Die Klangver-schiedenheit zvjischen Geige und Klavier, die vollen

Harmonien des Stiickes, die feine Niiancierung in

der begleitenden Klavierstimme leiten und drdngenden Anfdnger zum reinen Intonieren, zum An-schvjellen und Abschivachen, zum Akzentuieren derTone. Er nvird geradezu gezvjungen den Tonschon zu bilden und das Musikstiick geschmacivollvorzutragen. Deshalb kann man schon neben Abt.II—IV entsprechend leichtere kleine Stiicke mitKlavier vornehmen.

3 Neben Abt. Via, Fib, Vie und VII vorzu-nehmen.

4 Neben Abt. Fill, IX, X und XI vorzunehmen.

Ila

-Introduction a la premiere posi-

tion.

-Ire Position. Matieres

IW ~,lre los^on

-

\ Supplemen-III Ire Position.

| taii-pc *IV —Ire Position. J

ta r'



V —Introduction a la 2me-7me Po-sition. Matieres supplemen-taires: Parties lib, III et IV;aussi le second violon des 29Duettini des Parties I, Ila et

lib.

Via -2me-7me Position.],, **»#*"VIb -2me-7me Position.]

Sli^^n'

|40 Melodies bohemiennes dansla 2me-7me position.

Vic —2me-7me Position.—40 Melodiesbohemiennes. Matieres supplementaires: Parties Via et VIb.

VII —2me-7me Position.—MatieresSupplementaires: Partie XII(Introduction au demanche).

VIII —2me-7me Position.IX —2me-7me Positon. } MatieresX —2me-7me Positon. j> Supplemen-XI —2me-7me Positon. J taires.§

§Partie XII—Le second violon,des 40 Melodies bohemiennes(Partie Vic).—W. A. Mozart,Sonates pour violon et piano,Nos. 4, 7, etc.

XII 3 —2me-7me Position.—Introduc-tion au demanche. Matieressupplementaires: W. A. Mo-zart, Sonates pour violon et

piano, Nos. 4, 7, etc.

XIII4—Note de transition.—Gammesdiatoniques en diverses formesparcourant 3 octaves. Matieressupplementaires : £ t u d e s deConcert: Rode, Concert No. 6;Viotti, Concert No. 23; compo-sitions du degre III.

XIV —Intonation des doubles cordes.Matieres supplementaires: Con-tinuation des fitudes de Concertet compositions des degres IIIet IV




2 Pour le commencant il est de la plus grandeimportance de jouer souvent avec accompagne-ment de piano. Le timbre different du violonet du piano, les accords pleins de la composi-tion les nuances de l'accompagnement, tout celaconduit, et meme entraine l'eleve a une intona-tion juste, a faire les crescendi et decrescendi, aobserver l'accentuation des notes. Tous cesdetails le forcent a cultiver une belle sonoriteet a interpreter les oeuvres avec gout. Pourcela il peut deja commencer l'etude de piecesfaciles avec piano conjointement aux exercices


VIb, Vic, VII.4 A etudier conjointement aux Parties VIII

IX, X, XI.


for

inSV PARTSby

Contents of

Book III*

OP. 11.

INTERMEDIATE STUDIES Price Each Part

FROM THE 2nd TO THE 7th POSITION $L75



PART VIII: CONSONANT CHORDS:Placing the Fingers for the Double-Stop of

the Perfect Fifth, with Exercises for Bow-ing.—Preparation of the Double-Stop of

the Perfect Fifth.—The Major and the MinorTriad in Double-Stops.—The Bro/cen Triad

















—






ing of Fingers.




Printed in C. S. A.


PART X.

Dissonant Chords

in the 2nd-7th Position.

Contents.

The Chord of the Dominant Sevenththrough all Keys in the 3d-7th Position.The Chord of the Dominant Seventh in

arpeggios through the Circle of Fifthsin all Positions, with various kinds of

Bowing.The Chord of the Diminished Seventh

in various Keysin the 2d-7th Position,

in single tones and in double-stops, withfinger-and bowing-exercises.

The Chord of the Dominant Sevenththrough all keys in the

2nd Position

ABTEILUNG X.

Dissonierende Akkorde

in der 2,-7. Lage.

Inhalt.

Der Domimnt-Septimenakkord durch

alle Tonarten in der 2.-7. Lage.Der Do.minant-Septimenakkord in Arpeggiendurch den Quintenkreis in alien Lagen,mit Stricharten-

Der verminderte Septimenakkord in

verschiedenen Tonarten in der 2.-7.Lagein einzelnen Tonen und Dpppelgriffenmit Finger-und Bogeniibungen.

1.

Der Dominant-Septimenakkord durchalle Tonarten in der

2- Lage.

PARTIE X.

Accords dissonants

a la 2me-7rne Position.

Table des Matieres.

L'accord de septieme de dominante

dans tous les tons a la 2me -7me posi-

tion. L'accord de septiemede dominanteen arpeges, parcourant l'echelle desduintes dans toutesles positions, avec

variantes dii coup d'archet.

L'accord de septieme diminuee en di-

vers tons h la 2me-7me position en cor-

des simples et en doubles cordes, avec ex-

ercices pour les doigts et pour le coup,

d'archet.

L'accord de septieme de dominantedans tous les tons a la

2me Position.

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3rd Position.

3

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10

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in the

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3 do)

Der Dominant-Septimenakkord in

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L'accurd de septieme de dominante a

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14

The Chord of the Dominant Seventh

in the5th Position.

4(ii)Der Dominant-Se'ptimenakkord in

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1

* ft.mmn^ ^^ §eSevCik, Op. 11-X

m ff^f.lfPffr . frftrtMZ^l—TX

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1

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Sevdik, Op. ll-X

26


in arpeggios through the circle of

fifths, in the 1st-8th position, withvarious kinds of bowing.

,1

7Arpeggierter Dominant-Septimenak-

kord (lurch den Quintenkreis in der 1-

8. Lage, mit Stticharten.

L'accord de septieme de dcminante

en arpfeges parcourant l'echelle des

quintes, a lalre-8me position, avee

variantes du coup d'archet.

M.spiecato

V.-ii i __, , . . . . ' I

l.Pos. Jff Ai.pos. ^ a

pfegji vJfWhr n^ffejj I'rrrrfrnw^jjjcnm*mim

*M«^^^mw^uiim nij^o-e>-

2.Pos.

ffi§•&#*w2.POS

i aff'fl^jjjqir ir^^

jTi'i

^jjjTTifrtfW'r i.fpij nrfi1 tjjj nqiTi

SevJik, Op. 11-X

3-Pos.3-Lage.3-Pos.

*&37

^Jflrcmgrft^*e

iffiTr^ffl ££ H. ^Wnrfi^ 17

b*^^ a**t*

4. Pos- V A4-Lage-4. Pos.

!Vrf^jTnrrr i

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wfMJflJP i

flfif% i

JBp]^dlfitQlr^ s§ i^*¥^

.f flff ll.»l£

t| IHrr^rrlf i frfri^jjJJrrCTW^ o-o-

5. Pos.5.La™e.5. Pos.

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jm, rrffrft^ ^sgj

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i

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te =4

Sevcik, Op. 11-X

fe

*m>b, it

yfffri^nrn

Jfttflfrff

|

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7. Pos.

7. Pol. »p a* 'm msmmmmm gpm#e

»„ ^»

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i

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:

teh sp•#££&

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te*

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») 8. Pos.*)8.Lage. (K o») R Pos. gP a

bl

fttr,„,„,-rf^ lfrff ^ g ftft

rr CfffifWr'r^Tf^££

^g^ "pttfte rffSsu.

*' With the fingering of the 1st position.

Sevcik, Op. 11-X

Avec le doigte de la Ire position.


in arpeggios through the circle of

fifths, in the lst-7th position, in a-

bridged form.

8.Arpeggiettet Dominant'-Septimenak-

kotd dutch den Quintenkteis in det 1-

7. Lage in verkiirztet Form.

39

L'accord de septieme de dominante

en arpeges parcourant l'echelle des

quintes a lalre-7me position en

forme abregee.

1. Pos.l.Lage.l.Pos

rrrr/rn iiT^ rr J JÛ7> seVp-

*~^?

2. Pos.2. Lage2.Pos.

^^ 'iJ^C cfrto^^ ij7 jtf it&r^ i^r^*

S.Pns. —&- "If «-*-*~~» : TtPej^r i *f pi'f JT"r '

i J L J—*|

'1

t

3.Ltigti. -f>fe-R

—

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'

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'

!

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l

l&tef '

|

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l

ftlfii,JTT- |MPfijOTi

,

rrirrnjil

u uj,i'Liîr!Li JMjiii-rrJ

iihfi*

Sevcik, Op. 11-X

j^r'rtf ifrYriflTliEffiJr'T» :t $- mur^N^^

5. Pos.#

% Lage. (fo V5. Pos. W

J»g bft^

fCrr i'^ i.ffl' im iT^'f-TO ^j

^ «tefff i ftff i r

6. Pos.e.Lage. ife=K6. Pos.

#rf *fefe

f^ft^^T^fem^ S TrTfI'Pfrr.^ i

7. Pos.I.Lage. ~(fa C7. Pos. vy

M £ fib

rffMTfr LiiTwr— iii[IIPcID

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Ife.,e§^^

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rui^^PSevcik, Op. 11-X

9 "(2)

Dissonant chords.

The chord of the diminished sev-

enth in the 2nd-7th position.

Dissonierende Akkorde.Der verminderte Septimenakkord in

der 2.-7. Lage.

The chord of the diminished seventh:

Der verminderte Septimenakkord: P |

L'accord de septieme diminue'e: «Pj}

.

31

Accords dissonants.

L'accord de septieme diminuee a la

2me-7me position.

2.POS.2- Lage.2. POS. si ' u^ijjj i^JiJAjjjWJ J JiUi

l

i i^;wf d3 7^2

«-«-«-a-« -lJ §3dj 1 r 1 H J J!?* ^P ^^JJl I I I l J l j^^zBJi J * 'J ] pjI

*) No. 9 is to be taken before No. 2 so as to alter-

nate with the chord of the dominant seventh.

Sevcik,Op. 11-

X

*) JVo. 9 ist vor No. 2 uorzune/onen ion /nit cle/n

Dominant-Septimenakkord abzuweehscln.

*LeXo. 9 devrait etre etadie' avant le No.3 pour alter-

ner avgc l'accord de septieme de dominante.

33

3. Pos.

l l

l I** l& eS.Lage. (fo C^^ =[* $if3. Pos ji* (K^ * s itK *+y+** t*sr*

if3 £*-

P^g^ *=«=# i'jl^ ^J '

frl

• *-= **=*

7? i OT3 J7T3 i >r3 TO p i^gi J jJ^ jnis 1*

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Sevcik, Op. U-Xr

33

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if=j=f I ^ [,«| J

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ft m4. Pos. -*—<sf •—>—

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1

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^^ £ f77»p f> rP7> ^ f>,

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J IIi '1 I Up jgt*te £:ai i =P=« ^ f^jjj¥1 •*• *

Sevcik, Op. 11-X

34

5.Pos.5-Lage-5. POS- l"/JV &y—g: 1^

1

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i.

3

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o 4

Sevclk, Op. 11-

X

35

6.Pos. JJ ..

6. Laze- /Ss C

IV2

tiji e e iiJ

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I I jp =^ ~> jb —= f^z:6-Pos.

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fe3fe

E 1IP Ht * f

o

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^—

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=S• m •

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|

ffTM^£ = ££ ?^

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Sevcik, Op. 11-X

36

7. Pos.7. Lage.1- Pos.

l. l

_8, 1

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1 8.

m c> if—r—I 5, £P^fe-^ff7"f^ »

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fe £

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MJ1bill£ b£|f>No. 2 follows.

fff= , bp I FoIgtNo. 2.

I

*|

J A controlleruer avecle No. 3.

Sevcik, Op. 11-

X

10(3)37


Der verminderte Septimenakkord:

L'accord de sepfieme diminue'e: $2. Pos.

2. Laze-2. Tos. -fr *'* **"

I

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fepp ^ J^^'Ji#-#

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1 1

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rftff=*efe=ff< * F mff£ S r=rI#- » g *&*-+4 g g ^3

4—^3

3E

Sevcik, Op. 11-X

j; f i

#«f g j H »j Nj 3 '*—

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38

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3. POS. 4 m 6 ^-tro p o ~-

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Sevcii, Op. 11-

X

39

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s- HHHSevcik, Op. 11-X

40

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mo ll_

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1 1

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^Sevcik, Op. 11-X

41

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IV ii i

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\D la r 'iLlt [jj^ p*=* ^^

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te

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** ** p .f i«f t € 1 1

o oSevcik. Op. 11 -X

fiK^£*«?:I f3£

o o

42

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ZLage.(fo

1«,

7. Pos. lr£^f#

l 1 i

ill:S»T ' =

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• BF. _»£^PS 1—

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1

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Sevcik, Op. 11-

X

i—d

—

L-i—» ~<s77

o o

I-

No. 3 follows.

A. continuer avec le No.3

11.43


Der verminderte Septimenakkord: J? hi

2. POS.3. Lage.2. Pos.

L' accord de septieme diminueei

1 I

ac J l;J^J J I \m w g=TS "r » r—

F

$^*o 1

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Sevcik, Op. 11-

X

44

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3. Pos. W mmn^r-T

~^J \,l_J J I JT3 tiJ jE=jN

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14

1

Sevcik, Op. 11-X

45

4. Pos.

4. Lage.4. Pos. ^^ Ê ^t

$'> I

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J J J J J J, ms. *- M=vS

s ^_* U lt

1 1

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3

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Sevgik, Op. 11-X

46

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m2_

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5. Pos. gf O I (oK 'TT7 • - nr*# © ' 9I P P 1 f P g ^Q^*m m rt-

i.

3.

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6. Pos.6. Lage.

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Sevcik, Op. 11-X

O <o

48

7. Fos.

7. Lage.7. Pos.

II1

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= £ ttfi 4 £ fi fi fi ' ^fT* ^ 4 ^T- —n

| F f r f rfff|

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fr.

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p- m II I I I I I I

I

—^Acontinuer awe le No.

Sevcik, Op. 11-X

12. 49

The chord of the diminished seventh: i

Der verminderte Septimenakkord: a t " \\-

L' accord de septieme diminuee: «

2. Pos.2.Lagc.2. Pos.

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Whole Bow.

Half Bow.

First Half.

Second Half.

One Third.

Two Thirds.

Firfct Third.

Second Third.

Third Third.

One Quarter.

Three Quarters.

i

I1

s1.

3

2.

31

3

3

3

1.

3

3.

3

3.

3

1

43

1

j. |. 1.1. First) second, Third, Fourth

Quarter.

^3-" Second and Third Quarters.

H Down-bow.

V Up-bow. 1)

- Broad Bow.


hammered (martele)

.



) Lift Bow.


1 First String, E.

H Second String, A.

HI Third String, D.

IV Fourth String, Q. 3)

o Open String.



• The little hook indicates which



T"r. At the Nut.

Sp. At the Point.

Abkurzungen und Zeichen.


Bruchzahlen.

i

I

i

3

1.

3

3.

31

3

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1.

3

3.

33.

3

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Halber Bogen.

Erste Halfte.

Zweite Halfte.

Ein Brittel des Bogens.

Zivei Brittel den Bogens.

Erstes Brittel.

Zweites Brittel.

Brittes Brittel.

Ein Viertel den Bogens.

Brei Viertel des Bogens.

•

I'|" Erstes, zweites, dritfes, vier-


' Zweites und drittes Viertel.

Herunte/sfrich

.

Hinaufstricfi

.

*)


Abgestossen, gehdmmert (martele

staccato).

Springend, geworfen (sautille;

spiccato)

.

Bogen heben.

Kunstpause (Buftpause) 2)

Erste Saite, E.

Zweite Saite, A.

Britte Saite, B.

Vierte Saite, G. 3)

Leere Saite.

E , Auf der E-Saite.

Biegenlassen des ersten Fingers.

Biegenlassen des Fingers aufwel-

chen das Hdkchen zeigt.

Mitte des Bogens.

Am, Frosch.

An der Spitze.



fractions

.

i

Ii

21.

3a.

31

3

35

l.

33.

3. 34

n

Tout l'archet.

Demi- archet.

Premiere moitie.

Seconde moitie.



Premier tiers.

Deuxieme tiers.

Troisieme tiers.



I"|" Premier, deuxieme, troisieme,

quatrieme quart.

•' Deuxieme et troisieme quart.

Tirez

Poussez. 1)

Largement.


.

" SautiHe (spiccato).

) Levez l'archet.





IV Quatrieme corde, Sol. 3)

o Corde a vide.

Sul Mi,_ Sur le mi.


j Retenez le doigt indique par le

crochet.





measure begins at the nut.s) Lift Bow and make a brief rest.



*) Ohne liezeiehnung der Sichtnng beginnt

der Anfangstakt iminer ctw Frosch.

) Bogen heben und /eurze J>aicse maehen.3) Attf nicht quintenreinen Saiten soil nicht

geifdt iverden.

-1) Paute d'indication speoiale on commence


*) Levez l'archet en faisant un bref silence.

3) On ne doit jouer que sur des eordes absolu-

ment justes.


By OTAKAR SEVCIK

OPUS II



" Ila —1st Position. "I

" S* Zlsllolon: Supplementary*


Part V—The rhythmic MajorScales from Parts Ila and lib.

—


with piano. 2

" V —Introduction to the 2d-7th Posi-tion. Supplementary: Parts lib,


ViaVIb

—2d-7th Position. ) c„„„i.„.„ t,^_+-2d-7th Position. J

Supplementary*


7th position.

" Vic —2d-7th Position. — 40 BohemianMelodies. Supplementary: Parts

Via and VIb." VII —2d-7th Position.—Supplementary:

Part XII (Introduction to Shift-

ing).


" IX —2d-7th Position."!" X —2d-7th Position. } Supplementary!" XI —2d-7th Position. J

§Part XII—The 2d violin to the 40Bohemian Melodies (Part Vic).

—W. A. Mozart, Sonatas for vio-



" XIII*—Transitional Tone used in Shift-



XIV -Intonation of Double Stops. Sup-plementary: Continuation of Con-cert-studies and Pieces fromGrades III and IV.


viduals, the exercises in Parts Ila and lib maybe studied independently, without keeping pacewith the parallel exercises for the left hand.In this case the omission of these exercises in

bowing must be made up in the followingParts.

2 It is of great importance for the beginner to

play frequently with piano accompaniment.The difference in tone-color between the violin

and the piano, the harmonic structure of themusic, the fine nuances in the piano-part, all

tend to guide, even urge, the beginner towardpure intoration, proper crescendos and decres-

cendos, and correct accentuation. Thus he is



* To be studied concurrently with Parts VIII,IX, X and XI.


Abteilung I —Einfiihrung in die erste Lage." Ila -— 1. Lage.

]" lib 1 — 1. Lage. I Nebenbei" III — 1. Lage.

Jvorzunehmen*

IV —1. Lage. J

*Abt. V—Die rhythmisierten Dur-Tonleitern aus Abt. Ila undlib.—Vortragsstiicke (1. Lage,

Stufe I) mit /Clavier.2

" V —Einfiihrung in die 2.-7. Lage.Dazu: Abt. lib. III und IP,sovoie die zvjeite Violinstimmezu den 29 Duettinen aus Abt. I,

Ila und lib.

" VA -£?: iZ. \«

t40 bohmische fVeisen in der2.-7. Lage.

" Vic —2.-7. Lage.—40 bohmische Wei-sen. Dazu : Abt. Via und VIb.

Ill —2.-7. Lage.—D azu: Abt. XII{Einfiihrung in den Lagenivech-sel).

VIII -7-2.-1. Lage.

IX —2.-7. Lage. \

X —2.-7. Lage. } Dazu%XI —2.-7. Lage. J

%Abt. XII—Die zvieite Violin-

stimme aus den 40 bohmischentVeisen (Abt. Vic).—W. A.Mozart, Sonaten fiir Violine


" XIIs —2.-7. Lage.—Einfiihrung in denLagenwechsel. Dazu: Sonatenvon W . A. Mozart, Nr. 4, 7, u. a.

" XIII* —Lagenverbindungston. Diaioni-sche Tonleitern in verschiedenerForm durch 3 Oktaven. DazuKonzertstudien: Rode, KonzertNr. 6; Viotti, Konzert Nr. 23und Vortragsstiicke aus der 3.'

Stufe.

" XIV —Intonieren der Doppelgriffe.Dazu: Fortsetzung der Konzert-studien und Vortragsstiicke ausder 3. und 4. Stufe.


1 Da die rhythmischen Anlagen nicht bei jeder-

mann die gleichen sind, konnen die rhythmischenUebungen aus Abt. Ha und lib selbstdndig vor-

genommen nuerden, ohne mit den gleichlaufen-

den Uebungen fiir die linke Hand gleichen Schritt

zu halten. In diesem Falle jedoch sind diese Bo-geniibungen bei den folgenden Abieilungen nachzu-

holen.

2 Haufiges Sptelen mit Klavier ist fiir den An-f'dnger von gr&sster (Vichtigkeit. Die Klangver-schiedenheit zwischen Geige und Klavier, die vollen

Harmonien des Stuckes, die feine Niiancierung in

der begleitenden Klavierstimme leiten und drdngenden Anf'dnger zum reinen Intonierent zum An-schwellen und Abschwdchen, zum Akzetituieren derTone. Er ivird geradezu gezvmngen den Tonschon zu bilden und das Musikstiick geschmackvollvorzutragen. Deshalb kann man schon neben Abt.

tl—IV entsprechend leichtere kleine Stiiche mitKlavier vornehmen.

3 Neben Abt. Via, VIb, Vic und VII vorzu-

nehmen.

* Neben Abt. VIII, IX, X und XI vorzune'hmen.

MatieresSupplemen-

taires.*

Partie I —Introduction a la premiere posi-

tion." Ila —Ire Position. ]

" lib1 —Ire Position. !

" III —Ire Position.|

" IV —Ire Position. J



" V —Introduction a la 2me-7me Po-sition. Matieres supplemen-taires: Parties lib, III et IV;aussi le second violon des 29Duettini des Parties I, Ila et

lib.

" Via -2me-7me Position.L";*"" VIb -2me-7me Position.]

SuPP'r

e

emt

en"

+40 Melodies bohemiennes dansla 2me-7me position.

" Vic —2me-7me Position.—40 Melodiesbohemiennes. Matieres supplementaires: Parties Via et VIb.

" VII —2me-7me Position.—MatieresSupplementaires : Partie XII(Introduction au demanche).

" VIII —2me-7me Position." IX —2me-7me Positon. ] Matieres" X —2me-7me Positon. S Supplemen-" XI —2me-7me Positon. J taires.§

§Partie XII—Le second violondes 40 Melodies bohemiennes(Partie Vic).—W. A. Mozart,Senates pour violon et piano,Nos. 4, 7, etc.

" XII s —2me-7me Position.—Introduc-tion au demanche. Matieressupplementaires: W. A. Mo-zart, Sonates pour violon et

piano, Nos. 4, 7, etc." XIII4—Note de transition.—Gammes

diatoniques en diverses formesparcourant 3 octaves. Matieressupplementaires : £ t u d e s deConcert: Rode, Concert No. 6;Viotti, Concert No. 23; compo-sitions du degre III. .

" XIV —Intonation des doubles cordes.Matieres supplementaires: Con-tinuation des fitudes de Concertet compositions des degre s IIIet IV.




2 Pour le commencant il est de la plus grandeimportance de jouer souvent avec accompagne-ment de piano. Le timbre different du violonet du piano, les accords pleins de la composi-tion les nuances de l'accompagnement, tout cela

conduit, et meme entraine l'eleve a une intona-

tion juste, a faire les crescendi et decrescendi, aobserver l'accentuation des notes. Tous ces

details le forcent a cultiver une belle sonOrite





IX, X, XI.


for

ViolininXIV PARTS

by

Contents of

Book III*

OP. 11


Price Each Part

$1.75


Open String.—The Augmented Second.—Harmonic Minor Scales, with Bowing-Exer-cises for Detache,Leg<ito, Staccato andSpiccato.

PART VIII: CONSONANT CHORDS:Placing the Fingers for the Double-Stop of

' the Perfect Fifth, with Exercises for Bow-ing.—Preparation of the Double-Stop ofthe Perfect Fifth.—The Major and the MinorTriad in Double-Stops.—The BroJcen Triad





ued.—The AugmentedTriad in Single Tonesand Double Stops, with Exercises for












—




Positions and Finger-Exercises employing

different Combinations of Stops for the


ing of Fingers.




Printed in 0. S. A.


j

AAAAAAf.^ ""»'"fft"tflAAAAAA.&AAAAAAKA5&

^JTi^ ,3. i<jtr-u

nf*cr

PART XLDissonant Chords

in the 2id_?th Position.

Contents.

Continuation of the Chord of the di -

minished Seventh: Uniform shiftings

of the individual fingers on one string,

with a controlling open string._Uni-

form shiftings with two fingers on two

strings, with a controllingopen string.

Shiftings of the double-stops of the

diminished Fifth and the diminished

Seventh, the minor Third and the ma-

jor Sixth, with a controlling open

string.- Exercises for shifting posi-

tions and finger-exercises employing

different combinations of stops for the

chord of the diminished Seventh.

Stretching the 4th and 1st fingers.

ABTEILUNGXI.Dissonierende Akkorde

in der 2.-7. Lage.

Inhalt.

Fortsetzung des verminderten Sep-

timenakkordes: Oleichm'dssige Riik-

kungen der einzelnen Finger aufeiner Suite. _ Oleichmcissige Ruk-kungen mit zwei FingernuufzweiSaiten, mit kontrollierender leerer

Suite. -Ruckungen der Doppelgrij-

fe der verminderten Quinte und ver-

minderten Septime, der kleinenTerz

und grossen Sexte, mit kontrollie-

render leerer Suite.— Lugen-undFin-

geriibungen mit verschieden kom-binierten Oriffen des verminderten

Septimenukkordes . Ubergreifen des

4. und 1. Fingers.

1.

The chord of the diminished Seventh:Der verminderte Septimenakkord:L'accord de septieme diminuee:

PARTIE XI.

Accords dissonants

a la 2me_7me Position.

Table des Matieres.

Continuation de l'accord de septie -

me diminuee: Glissements unifor-

mes des doigts individuels surunecorde, avee controle d'une corde a

vide._ Glissements uniformes de.

deux doigts sur deux cordes, avee

controle d'une corde a vide Glis-

sements des doubles cordes de la

quinte diminuee et de la septiemediminuee, de la tierce mineure et de

la sixte majeure, avee controle dune

corde a vide. _ Exereices pour lede-

manche et pour les doigts avee dif-

ferents placements des doigts pour

l'accord de septieme diminuee. Ex-tension du 4 I?e et du l®r doigt.

m

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Sevcik On.ll.XI

2(4*)

The chord of the diminished seventh:Der verminderte Septimenakkord:I/accord de septieme diminuee: i*

2.pos.

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Sevcik Op.ll.XI

*>N'.'iist vor N9 2 vorziine/imen 11m mit(ten FhtgerritcA'/tngen abztnvechseln.

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ment.

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Sevcik Op.U.XI

10

5.Pos. QS.Lage. fa (1

5.Pos. ST S=§3

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Sevcik Op.ll.XI

11

6.Pos. Q6.Lage.-&r{*r6.Pos. ^Y a

1.

1 3

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=

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Sevcik Op.ll.XI

12

7. Lagey.Pos

fe££f-Efff'rf rrffr .trff ff £

#*iz := :=:= := ft * a := :=.^fPI>. A t>* * - *

fFff . ffff^frfi

i ',J7TJ gag J r r P f1 1 rglg frff£ff£££#-=—1» • m

N? 5. follows.

A eontinuciavecleNa5.

o o

Sevcik Op.ll.XI

The chord of the diminished seventh: * ,

Der verminderte Septimenakkord: 5jpi=L'accord de septieme diminuee. ~W~~

13

2.Pos. QS.Lage. /£ («

2.Pos. W

L'accord de septieme diminuee.1 1

gp JJ^^f*-»<*

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CLTf^j l jJJJ^^Ji"L«U3 "3^ PpFp te SiffWHSevcik Op. li. XI

14

3.Pob. Q

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Sevcik Op. 11. XI

15

4.Pos. Q4 Lage. gk (!

4.Pos. -«T ^^brf»i b. Q.^r-

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Sevcik Op. 11. XI

16

1. 3

3 4

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-4 2

3

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Sevcik Op. 11. XI

17

6.Pos.ff. Lage. (L («

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IV4

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I 3

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Sevcik Op. 11. XI

18

7. Pos. -0—

7. Pos. vy

IV

l>» P u£ IFfr

£ ^^ _» a.

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i i

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ng. ^Êffis*t*.-^ k

e 1 T fr» .^ ~I1 N? 6 follows.bL "! G=\ Foist NV».

A eontinueravecleNo.6.

Sevîk Op. 11.XI

19

Uniform shiftingsof the chord of the

diminished seventh with one finger.

Shiftingsin minor thirds with one fin-

ger on a single string, with controll-

ing open string.

Oleichmassige R'dekungen des ver-

minderten Septimenakkordes mit

einem Finger.

4(2)Biickurtgen in kleinen Terzen mit

einem Finger a>/f einer Saite,mit

kont? oilierender leerer Saite.

Glissements uniformes de Paccori de

septieme diminuee au moyen d'un

doigt.

Glissements en tierces mineures au mo-

yen d'un doigt sur une corde, avec con-

trole d'une corde a vide.

frr frfTfff frfrtrr. r, ,

b

fff .'ffffff ,ff*rr

w1

Û iî ^ JWÛ " ll&lJ 'nî J J JWJ3iIV3_

W0^ 0-03 U^^ JJJ I J *£0—0 000

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3, 3 3 3

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ISevcik Op.U.XI

segue

30

m.

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1l

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1, .. I

3I

3 „ 3 3 3'

3' 3 3 &~ -33 4,4 it* Tg" iil .,4

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1" ff T ff#0-0-0o

IV.1 1 1 1 1 2 3 2 *

, 2 3 3 3 <». 3 3 3 44 * 4,4 44

32

segue

Shiftings with one finger alternatingwith the open string.

5(3)Ruckungen mit einetn -Finger, ab-wechselnd mit der leeren Saite.

w— rrw

N? 2 follows.Folgt N°k.

A coatinueraveclelfo.2

Glissements au moyen d'un doigt,alternant avee la corde a vide.

l.^^o o o o o o o o O -O o o

s^~- • -^ 1• 10- r.

1

•- 1

r> 1

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6

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r Tnr i r fn if .fjif jf.fCS o o Q C* o o LJ ^O M* o o

o o

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Sevcik Op. 11. XI

21

2. bb r r e a frTn

t

rr rTr i r^fTr i

trfif-

o o b a. o ib ô o b b o c5 o o b o~11 3 I

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urTrrni?;pt_ pi PP^POO O O OO OO O O O ' «»• O ' O ^ O 1^ oo o o

IT

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]wtrww?v3V*ViSeveik Op.ll. XI

22

M i;O 3. O

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4 1

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II.

fcs> o o hh~~ g^

3 t-rj irjr.ru !*!=£ff fc* o o U3

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m..

3 ai ij i

j^ s= ^fe*

,^ ^S^

•re

r s-bFf5!N9 3 follows.

A continuer avec le N93.

P~?

Uniform shiftingsof the chord of the

diminished seventh with two fingers ontwo strings.

Shifting the ist_3nd}2n_d-3 r.d and 3^-4%

finger in diminished fifths with controll-

ing open string.

l

1. i

Gleichmiissige Riickungen des ver-

minderten Septimenakkordes mitzwei Fingern aufzwei Saiten.

6.Riickungen des 1.-3., 2r3. and 3.-4.

Fingers -.in verminderfen Quin-teti, mit koutrollierender leererSaite.

1

Glissements uniformed de l'accord deseptieme diminuee au moyende deuxdoigts sur deux cordes.

Glissements du ler-gme, 2«ie.3me et3me-4me doigt en quintes diminuees,avec controle d'une corde a, vide.! BWnBi

*l 2 *m mw ~w m ~w 2

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¥Sevcik Op.ll.XI

23

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Sevcik Op.ll.xr

24

Shifting of the chord of the diminishedseventh in octaves, with the 1SJ" and 4th

finger, with controlling open string.

7Ruckungen des verminderten Sep-timenakkordes in Oktaven fnit dem1. und 4. Finger^ mit kontrollieren-

der leerer Saite.

Glissements de 1'accord de septiemediminuee en octaves au moyen du leJet du 4n2e doigt, avec controle d'une

corde a vide.

IVmm—s

1

4

ISS

ir=F* Z- ^M ^: ^rW

3b:5

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SevcikOp.U.XI

25

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Sevcik Op.ll.XI

26

The chord of the diminished seventh

shifted in thirds with the fst and 3 r.d

finger, with controlling' open string.

8.Ber uerminderte Septimenakkordin it Terzenriicknngen des 1. mid H.

Fingers, mit kontrottierender leerer

Saite.

Glissements de l'accord de septiemediminuee en tierces au moyen du le_r

et du S^doigt, avec controle d'unecorde a vide.

ml

s î. aeE 3te«#

lP TO 9«•««p tt«^ 'f:«- — 3

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0^3 1


shifted in thirds with the S 1!^ and 4**1

finger, with controlling open string.

2?«r verminderte Septimenakkordtnit Terzenriicknng des 3. und 4.Fin-gers, mit kontrollierender leerer Sai-te.

IV IV

O O 2 4 3,

4,,

,8 *,13 4

£ i2 o

Glissements de l'accord de septiemediminuee en tierces au moyen du 2nJe

et du 4n2e doigt, avee controle d'unecorde a vide.

m3

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3

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Seveik Op.ll.XI

38

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10.


shifted in sixths with the 1st-2^ 2nd.

3 rd and 3 r.d - 4th finger, with controll-

ing open string.

Sextenriickung des vermindertenSeptimenakkordes mti dem l.-2.,2r

3. und 3.-4. Finger, mit kontroEie -

render leerer Saite.

29

Glissements de l'aceord de septieme di-

minuee en sixtes au moyen du leJc-2*$B)

3me.3me et 3me.4me (ioigt, avec con-

trole d'une corde a vide.

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30

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31

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Sevcik Op.U.XI

32


while a finger remains on the string.

11.

Der uerini/iderte Sepfivienakkord

mit Liegeitlassert der Finger.

L'accord de septieme diminuee, un

doigt restant pose sur la corde.

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33

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34

3. asP ^m o 4

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Seveik Op.U. XI

12.The chord of the diminished seventh

on two string's, with finger exercises.

Der verminderte Septimenakkordanf zwei Satten, wit Fingeriibun-

gen.

35

L'accord de septieme diminue'e surdeux cordes, avee exercises pour les

doigts.

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SevcikOp.ll.XI

36

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SevcikOp.ll.XI

37

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Sevoik Op.U.XI

38

13.

The preceding finger-exercises

through the positions.

Die vorfiergehendenFirtgeriibungen

durch die Lagen.L'exercice precedent parcourant

toutes les positions.

1. ^^2 2

nr2 2_

n ffi*SFftr*4 3 4 3

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Sevuik Op.ll.XI

39

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Sevcik Op.ll.XI

40

3. ^FF ftf i tfm4 3M T> f f f

ri«

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Sevcik Op.ll.XI

13 a

Exercises in the different positions

on the broken chord of the diminished

seventh on two strings in single stops.

Keeping the fingers on the strings.

Lageniibung in gebrochenen

verminderten Septimenakkor

-

den auf zwei Saiten in einfa -

chen Griffen. Liegenlassen derFinger.

2

41

Exercices dans differentes positions sur l'ac-

cord bris6 deseptieme diminuee sur deux

cordes en cordes simples. Les doigts

restant poses sur la corde.

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J JiJitJJ s

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Sevcik Op.H.Xl

42

The preeeeding exercise in double-

stops.

14.

Die vorhergehende Ubung in Dofi-

pelgriffen.

L'exereiee precedent en doubles cor-

des.

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Seveik Op.ll. XI

The broken chord of the diminished

seventh, ascending and descending, on

two strings in single stops, the fin -

gers shifting by half positions to the

7t"position.

15.

Gebrochene verminderten Sep-timenakkorde auf zwei Saiten in

einfachen Griffen, mit Vorriicken

der Finger in halben Lagen bis zur

7. Lage, auf und absteigend.

43

L'accord de septieme diminuee, mon-tant et descendant, sur deux eordes

en eordes simples. Les doigts avan-

cent par demi- positions jusqu'ala

7 !Se position.

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Sevcik Op.U.XI

44

The preceeding exercise on two strings

in double stops.

16.

Die vorhergehende Ubung aufzwei Saiten in Doppelgriffen.

L'exercice precedent sur deux cordes

en doubles cordes.

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Exercises for the various positions with

different combinations of the stops of

the chord of the diminished seventh on

two strings; with controlling open string.

16*

Lageniibung tnit verschieden kom-

binierten Griffen des verminderten

Septimenakkordes auf zwei Saiten,

mit kontrollierender leerer Satte.

45

Exereicesdansdifferentes positions en dou-

bles cordes avec diverses combinaisons de

doigte" pour l'accord de septieme diminuee,


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Sevcik Op. 11. XI

46

Shifting of the chord of the dimin-ished seventh by means of stretch-

ing the 4th and 11* finger.

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17Ruchungen des.yerminderten Septimen-akkordes tnit Ubergreifen des 4.und 1.

4 Fingers,

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Abbreviations and Signs

.



?-|- First, Second, Third, Fourth

Whole Bow.

Half Bow.

First Half.

Second Half.

One Third.

Two Thirds.

Firfet Third.

Second Third.

Third Third.

One Quarter.

Three Quarters.

3. 44 4 4 4

Quarter.

^3-' Second and Third Quarters.

n Down-bow.

V Up-bow. 1)

- Broad Bow.


hammered (martele).



) Lift Bow.


I First String, E.

H Second String, A.

HI Third String, D.


o Open String.

Sul E,_onthe E-string.


• The little hook indicates which



Fr. At the Nut.

Sp. At the Point.

Abkurzungen und Zeichen.


Bruchzahlen.

i

I

i

31.

3

a.

31

3

23

1.

3

2.

3

3.

31

434

1.

Ganzer Bogen.

Halber Bogen.

Erste Halfte.

Zweite Halfte.

Ein Brittel des Bogens.

Zwei Brittel den Bogens.

Erstes Brittel.

Zweites Brittel.

Brittes Brittel.

Ein Viertel den Bogens.

Brei Viertel das Bogens.

4 4 4 4* Erstes, zweites, drittes, vier-

2. 3

4

n

v

/

i

n

mrv

o

Sul

l

Fr.

Sp.


' Zweites und drittes Vie?-tel.

Herunterstrich

.

Hina/ifstrich

.

x)


Abgestossen, ge/iatnmert (martele

staccato).

Springend, geworfen (sautille';

spiccato)

.

Bogen fieben.

Kunstpause (Luftpause)^]

Erste Saite, E.

Zweite Saite, A.

Britte Saite, B.

Vierte Saite, G. 3)

Lee?e Saite.

E, Auf der E-Saite.

Liegenlassen des ersten Fingers.

Liegenlassen des Fingers anf wel-

cfien das Hakchen zeigt.

Mitte des Bogens.

Am. Froscn.

An der Spitze.



fractions.

l

ll

31.

33.

313

231.

33.

31

4341. 2,

4 4

3. 3

4

n

V

Tout Parchet.

Demi- archet.

Premiere moitie.

Seconde moitie.



Premier tiers.

Deuxieme tiers.

Troisieme tiers.



I' I'Premier, deuxieme. troisieme,

quatrieme quart.

Deuxieme et troisieme quart.

Tirez

Poussez. 1)

Largement.


.


) Levez l'archet.


I Premiere cor.de, Mi.



P7 Quatrieme corde, Sol. 3)

o Corde a vide.

Sul Mi,_ Sur le mi.


i Retenez le doigt indique par le

crochet.






3) So practising should be done on strings


') Ohne Sezeiehnung der Rlchtang begi/int

der Anfangstakt iminer am Frosc/i.

~J Bogen heben und kurze Pause wachen.3) Anf nieht qnintenreinen Saiten soil nicht

getibf werden.

*) Paute d'indication speciale on commence




ment jusles.


By OTAKAR SEVC1K

OPUS II

CLASSIFICATION OF THESUBJECT-MATTER. -

Supplementary*

Part I —Introduction to the 1st Position." Ha —1st Position." lib1 —1st Position." III —1st Position." IV —1st Position.

*Part V—The rhythmic MajorScales from Parts Ha and lib.—Pieces (1st position, Grade I)

with piano.2

" V —Introduction to the 2d-7th Posi-tion. Supplementary: Parts lib,III and IV ; also the 2d violin tothe 29 Duettinos from Parts I, Haand lib.

" Via —2d-7th Position. ) c.,„„i„„„ f„„+" VIb -2d-7th Position, J

Supplementaryf

f40 Bohemian Melodies in the 2d-7th position.

" Vie —2d-7th Position. — 40 BohemianMelodies. Supplementary: PartsVia and VIb.


ing).


" IX —2d-7th Position.]"' X —2d-7th Position. } Supplementary§" XI —2d-7th Position. J




XIIH

XIV

-Transitional Tone used in Shift-

ing—Diatonic Scales in a Varietyof Forms through 3 Octaves.Supplementary : Concert-studies

:

Rode, Concerto No. 6; Viotti,

Concerto No. 23 ; Pieces fromGrade III.

-Intonation of Double Stops. Sup-plementary: Continuation of Con-cert-studies and Pieces fromGrades III and IV.

1 Because the sense of rhythm varies in indi-viduals, the exercises in Parts Ha and lib maybe studied independently, without keeping pacewith the parallel exercises for the left hand.In this case the omission of these exercises inbowing must be made up in the followingParts.

'-' It is of great importance for the beginner toplay frequently with piano accompaniment.The difference in tone-color between the violinand the piano, the harmonic structure of themusic, the fine nuances in the piano-part, all






llteilung I —Einfiihrung in die erste Lage."

lla —1. Lage.]

lib 1 —1. Lage. I Nebenbei" /// — 1. Lage. f vorzunehmen*

IV —1. Lage. J

*Abt. V—Die rhythmisierten Dur-Tonleitern aus Abt. lla undlib.—Vortragsstiicke ( 1. Lage,

Stufe 1) mil Klavier.2

" F —Einjiihrung in die 2.-7. Lage.Dazu: Abt. lib, 111 und IV,so<wie die zvjeite Violinstimmezu den 29 Duettinen aus Abt. I,

lla und lib.


Via —2.-7. Lage. \VIb —2.-7. Lage. J

Dazu^

f40 bubmiscbe fVeisen in der2.-7. Lage.

Vic —2.-7. Lage.—40 bohmische Wei-sen. Dazu: Abt. Via und VIb.

Ill —2.-7. Lage.—D azu: Abt. XII{Einfiihrung in den Lagenvjech-set).

Fill -^2.-7. Lage.

IX —2.-7. Lage.]X —2.-7. Lage. } Da*u§

XI —2.-7. Lage. J

' §Abt. Xll—Die zweite Violin-

stimme aus den 40 bbhmischenWeisen (Abt. Vic).—W. A.Mozart, Sonaten fur Violineu. Klavier, Nr. 4, 7, u. a.

XIIs —2.-7. Lage.—Einfiihrung in denLagenvjechsel. Dazu: Sonatenvon W. A. Mozart, Nr. 4, 7, u. a.

Xlll1 —Lagenverbindungston. Diatoni-sche Tonleitern in verscbiedenerForm durch 3 Obtaven. DazuKonzertstudien : Rode, KonzertNr. 6; Viotti, Konzert Nr. 23und Vortragsstiicke aus der 3.'

Stufe.

XIV —Intonieren der Doppelgriffe.Dazu: Fortsetzung der Konzert-studien und Vortragsstiicke ausder 3. und 4. Stufe.

1 Da die rhythmischen Anlagen nicht bei jeder-mann die gleichen sind, konnen die rhythmischenUebungen aus Abt. lla und lib selbstandig vor-genommen vierden, ohne mit den gleicklaufen-den Uebungen fur die linke Hand gleichen Schritt

zu halten. In diesem Falle jedoch sind diese Bo-geniibungen bei den folgenden Abieilungen nacazu-holen.

2 Haufiges Spielen mit Klavier ist fiir den An-f'dnger von grosster Wichtigkeit. Die Klangver-schiedenheit zviischen Geige und Klavier, die vollenHarmonien des Stiickes, die feine Niiancierung in

der begleitenden Klavierstimme leiien und drdngenden Anfanger zum reinen Intonieren, zum An-schvL-ellen und Abschw'dchen, zum Akzentuieren derTone. Er vjird geradezu gezvmngen den Tonschon zu bilden und das Musibstiick geschmactvollvorzutragen. Deshalb kann man schon neben Abt.II—IV entsprechend leichtere Heine Stiicte mitKlavier vornehmen.

3 Neben Abt. Via, VIb, Vic und VII vorzu-nehmen.

* Neben Abt. Fill, IX, X und XI vorzunehmen.

Partie I

llaIlbi

IIIIV

—Introduction a la premiere posi-

tion.

MatieresSupplemen-

taires.*

•Ire Position. 1—Ire Position. !

—Ire Position.[—Ire Position. J

*Partie V—Les Gammes majeuresrythmiques des Parties lla e*lib.—Compositions (Ire posi-tion, Degre I) avec piano.2

—Introduction a la 2me-7me Po-sition. Matieres supplemen-taires: Parties lib, III et IV;aussi le second violon des 29Duettini des Parties I, Ha etlib.

ViaVIb

Vic

VII

VIIIIXXXI

XII»

XIII

XIV

—2me-7me Position.Matieres

-2me-7me Position.]Supj e

men-

f40 Melodies bohemiennes dansla 2me-7me position.—2me-7me Position.—40 Melodiesbohemiennes. Matieres supplementaires: Parties Via et VIb.—2me-7me Position.—MatieresSupplement aires : Partie XII(Introduction au demanche).—2me-7me Position.—2me-7me Positon. } Matieres—2me-7me Positon. f Supplemen-—2me-7me Positon. J taires.§

§Partie XII—Le second violondes 40 Melodies bohemiennes(Partie Vic).—W. A. Mozart,Sonates pour violon et piano,Nos. 4, 7, etc.—2me-7me Position.—Introduc-

tion au demanche. Matieressupplementaires : W. A. Mo-zart, Sonates pour violon etpiano, Nos. 4, 7, etc.

1—Note de transition.—Gammesdiatoniques en diverses formesparcourant 3 octaves. Matieressupplementaires : £ t u d e s deConcert: Rode, Concert No. 6;Viotti, Concert No. 23; compo-sitions du degre III. .—Intonation des doubles cordes.Matieres supplementaires: Con-tinuation des £tudes de Concertet compositions des degres IIIet IV.

7 Le sens du rythme n'etant pas le meme cheztous les individus, il est possible d'etudier lesexercices rythmiques des Parties Ha et lib in-


2 Pour le commengant il est de la plus grandeimportance de jouer souvent avec accompagne-ment de piano. Le timbre different du violonet du piano, les accords plains de la composi-tion les nuances de l'accompagnement, tout celaconduit, et meme entraine l'eleve a une intona-tion juste, a faire les crescendi et decrescendi, aobserver l'accentuation des notes. Tous cesdetails le forcent a cultiver une belle sonoriteet a interpreter les ceuvres avec gout. Pourcela il peut deja commencer l'etude de piecesfaciles avec piano conjointement aux exercices



IX, X, XI.

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