maia bang - violin method part i elementary

8/3/2019 Maia Bang - Violin Method Part I Elementary

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-AUTHOR'S PREFACE-Inspired by that most prominent of all modern violin pedagogues, Professor Leopold Auer,

with whom I had the great opportunity of studying in Petrograd, I conceived the idea to write, as dearlyas possible, a Violin Method wherein Prof. Auer's new and unconventional teaching principles wouldbe set forth and thus made available for the teaching fraternity.

I have, ever since earliest childhood, had a rapt interest in that most marvelous of allinstruments, the Violin. My constant desire to acquaint myself with every phase of violin playingled me to investigate a great variety of methods, and for many years, I devoted myself to the thoroughstudy of the "German School" in Leipzig, the "Belgian School" and "French School" in Paris andGeneva, and finally the "Russian School" in Petrograd. To the latter I came at the most opportunetime, when Prof. Auer's classes were attenrled by some of his most gifted young violin prodigies.

The opportunities to profit through the advice of this master, the intellectual uplift gainedthrough personal contact and the remarkable results I achieved through his entirely original teaching

proved a revelation to me and I realized 'ere long how much in advance his teaching principlesthose of all other pedagogues with whom I had studied.

When the great European war forced the Master to leave Russia and come to the UnitedStates, I grasped the wonderful opportunity to follow him as his assistant teacher; and it was hereI wrote the "Maia Bang Violin Method," published in seven volumes. The work covers every phaseof violin teaching and violin playing from the very beginning to the highest artistic realization. Intothis method has been introduced Prof. Auer's most important instructive principles, not only as adeveloping feature, but so closely fitted to the exercise material as to prove of the utmost benefit tothe student.

In arranging for a well-graded plan of development in this method, I followed one of themost important principles of my illustrious master: to combirie purely technical with musical needs at alltimes by providing a liberal, progressive amount of technical material and relieving it with melodiouslittle pieces designed to interest the pupil and accustom his ear to pleasing and gratifying musicalimpressions from the very start.

Practical experience proves to every teacher how irksome a task it is to teach the elementaryprinciples of violin playing, and I have long since arrived at the conclusion that in order to succeedwe must present every instructive principle and every technical problem in as clear and simple a manneras possible. To this end I would advise the following procedure of practice:

With exercises of pieces offering difficulties for both fingers and bow, the task for masteringthe technical details should be divided, owing to the fact that it is a difficult problem for young pupilsto concentrate simultaneously upon such different work as the right and left hand are called upon toexecute. In other words: the entire attention of the pupil should be concentrated at first upon thefingers of the left hand-using a separate bow for each note-and only when comparative surety inintonation and finger action have been gained should he play with the marked bowings, For instance:Practice at first with separatebow to each note:

and later on with thebowing as marked:

This system of practising will bring about rapid and satisfactory results and should beemployed throughout the entire method.


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Before closing I beg to refer in brief to the responsibilities and nerve-racking duties of ourolin teachers. Only through their devotion and conscientiouswork C'11l we look forward to the artisticelopment of our future soloists, discriminating amateurs, and last but not least, of those importantembers of symphonic organizations such as first and second violinists and viola players.The violin teacher in truth is one of the fundamental pillars of musical development and ifthe presentation of this new method I have succeeded in lightening his arduous and trying dutieseven a partial extent, I shall find myself amply rewarded.The admirable art of violin playing demands long, incessant and pains-taking applicationd in closinglet me recall the oldLatin proverb, applicable alike to violin playing as to all the other arts:

Per aspera ad astra!(Through bolts and bars to the stars!)MAlA BANG.

- - - - - - - - - - - - - - - - - - - - c - - - - - - - - - - - - _ _

Preface to the Revised EditionIt is a great pleasure to offer this new, revised edition of my popular Violin Method, madessible through the courtesy of my esteemed publisher.Naturally-nothing has been changed either in plan or general layout of my method-have only brought it up to date and made it more accurate and concise.More than 300,000 copies of this method have been sold-what a pleasure to see one'sork so appreciated and used. I hope it may continue to be of great use and help to my dear friends,e violin teachers, in their strenuous and important work.


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2'70 Rl'I/'E:RSIDC DRIVElHDW YORK Cr1."


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THE VIOLINand

IT S COM PONENT PARTSFront ViewThe Top

(Made of Pine wood)

-. - -The Head-- - - The Pegs -

- - - - - The Neck - -

- -The Finger-board

- - The Tor

The Ribs - - -_ - The Bridge

_ -The F-holes

The Tail-piece- - The Purfling

The End-Button __

G D A E

Side ViewThe Ribs(Made of Maple wood)

Back ViewThe Back(Made of Maple wood)

G D A E

D-Peg A-Peg - g --0:s0-0 ~::: s 8~ : :s E-Peg.::- cL- 'S'" . . . O l~ :: s :: s '" --0il ;;( o e nhe Bridge


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COMPONENT PARTS O F T H E VIOLIN (continued)

THEINSIDEof the Violin is like an empty box witha number of small corner-blocks placed at the top, bottomand sides, stabilizing the different parts of the Violin.

It also has a lining which followsthe contour of theinstrument.

THE BAss-Bi..:Rs a narrow strip of wood gluedagainst the inner surface of the top and running parallelwith the outside G-string. It serves to strengthen thetop under the heavy pressure of the thickest string on theViolin (the G-string) and equalize the vibrations.

Inside 01 the Violinwith Top removed

The Base-bar(dotted line inside the Violin shows position of Base-bar under the top)

THE SOUND-POSTs a small round wooden prop set inside the Violin.tween the Top and Back, just behind the right foot of the bridge. Its function is toce the Top against the pressure of the strings, transmitting as well as regulatingir vibrations. It is through this little prop that the whole body of the Violin is ren-red resonant. Owing to its 'great influence upon the tone of the Violin it is rightly

"l'ame du Violon", (the soul of the Violir.).THE END BUTTONets in the lower end of the ribs of the violin and

ves the purpose of holding the Tail-piece to which it is fastened with a strandheavy gut.

The Sound-post

The End-button

THE CHIN-RESTshoul,' ve two dittere,u purposes:I. Its first purpose should be to enable the Violin playerto hold the Violin firmly and securely.

2. Its second purpose should be to protect the top of theViolin from being touched by the chin of the player.

According to the latest scientific research, the Violin losemore of its tonal volume when being touched on the top


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TH E B O Wand

I T S C O M P O N E N T P A R T SThe Stick Silver Wipding The Screw

e Tip The Hair The Frog

THESTICK of the bow is made of Pernambuco wood. It is ordinarily round. but occasionallyEyelet

The RingThe Ferrule The Sllde

THE F R OG A N D ITS P A R TSTHE FROGof the bow is made of Ebony. Fine bows are mounted with silver or gold. The

are horse hairs.Before using the bow tighten the hair by means of the screw in order to impart the necessary

sion to the stick. This tension. however,must never be so great2S to cause the stick to become straight;latter should always remain slightly bent towards the hair. Before playing, the hair should be rubbedth a moderate amount of rosin, and after playing, the hair should invariably be loosened. When their becomesworn out, or shiny, and refuses to retain the rosin, it must be renewed.

A lways K eep Your V iolin and Bow in P erFect C onditionand S potlessly C leanl

Great importance attaches to the size of the violin and bowwith which a beginner starts. Bothst neither be too large nor too small and a mistake in this respect is liable to increase the difficultiesof thepil to a very considerable extent. To make sure, the teacher should always select the violin andbow,he or she is best qualified to judge of the practical needs of the beginner.

(Remark hy Profe ssor Leop ,td Auer )

When you come for d lesson:"Don' t M a k e E x c u s e s '

M a k e G o o d ! /I

The above is one of the first of Prof. Leopold Auer's teaching principles and remarks to beplied to the general instructive plan of this Method; others of equal importance are mentioned through


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HOW TO HOLD THE VIOLIN CORRECTLYI. Stand erect, with weight of the body resting on the left foot. (See illustration 12, p. IS)

Sland erect, perfectly quiet, with freedom and ease.and ol1l14Ys hold your shoulders well 10 the rear.Such" position will enable freer breathing and betterlone J1roduction. L.A.

2. Bend the left arm well toward the right, in order to enable your fingers to fall upon therings from above and with the necessary surety and strength; in fact your elbow must be drawn undere instrument to such an extent that you can see a little part of it. (See Ill. I, p. 13). Never hold thelbow towards the left. Also remember, that the Violin should nerJer be held in position by the leftnd--only by collar-bone and jaw-bone. The hand should always be free and independent for theurpose of playing.

3. Hold the violin in a horizontal and slanting position-the right side lower than t he left,lace it upon the collarbone and hold it firmly in position with the jaw-bone upon the chin-rest. (See

2, p, (3)Hold the Violin well ",p in front of you and in

such " manner that the lop of the instrument willface the listener. Such a position will enable the lone10 lIJIJf1t: the F holes in a direct line towards ,Ire lis-tenet. VJit Iwut detriment to its volume or quality. L.A.

4. Never use your left shoulder to support the instrument and hold the latter firmly in positio"ith aid of the collar and jaw-bone o m y (see Ill. 4, p. 13). In fact do not allow the Violin to touch youroulder or use a cushion to support the instrument. as such methods will invariably muffle the tone.

DraTCing up of the left shoulder as well as the useof a cushi:m for supporting the Violin is absolutely,,"ong and both methods will tend to muffle the lone.A cushion will rob the Violin of a third of its IonalMume. L.A. *)

5. The fore-arm, "",ist and hand should form a straight line. (See 111.7. p. 14) Do not bende wrist either too far out or too far inward, so as not to touch the body of the violin, Hold the nedthe Violin between the first joint of the thumb and the third joint of the fore-finger and never forgetat there must be a very noticeable space between the thumb and neck. (See Ill. 8, p. 14) In addition,not press the thumb against the neck of the Violin.

Itshould be remembered here that this remark by Prof. Auer was intended for his artist pupils of whom he alwaysthe height of perfection. Beginners and amateurs should not take this request too literally. Pupils' necks diller; a pupil withneck needs no cusJuon while a pupil with a longer neck does need one. Use your own judgment.It also seems that Prof. Auer 80IDeWbat overestimated the harm of ung a cushion. Modem scientific experimentsthat while the violin may be robbed a little of iu tonal volume by uliing a cushion, this loss does not amount to as much as a


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HOW TO HOLD THE BOW CORRECTLYI. Place the thumb of the right hand, slightly curved, close to the nut, beneath the stick

opposite to the middle finger, with the other fingers placed side by side on the bow within touch ofh other.

(A1ao, S e e Ill. 5, p. 14) (A1ao, S ee Ill. 6, p.14,)

2. The thumb must be placed simultaneously against the nut and the stick at the pointfX\ on the bow:

3. The bow must lie In a slanting position between the first and second joints ofthe index finger and between the .endand the first joint of the little finger.(Russian School).

4. Hold the bow firmly but in doingso, the thumb and fingers must never bestrained, and should not touch the hair ofthe bow.

(End Vaewof Bow position.at the Frog)

5 Never forget that next to the fingers and the arm itself, the wrist is the most importantctor for ultimate mastery of bowing, To play with a stiff or cramped wrist will not bring satisfactorysults in violin playing as a loose and flexible wrist is one of the main essentials of correct and artistic


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H O W TO D R A W TH E B O W C O R R EC TLY1. The bow should be drawn straight across the string, parallel to the bridge and midway

tween the bridge and the fingerboard. It should be drawn evenly, touching only one string at a time.2. The wrist should be entirely loose and flexible, capable of moving with absolute ease.

fact, the bow can not be drawn straight across the string without raising the wrist at the frog andwering the wrist at the tip.

'----r

-- A supple, flexible wrist enables the production of abeautiJul, singing tone, while a stiff and inflexiblewrist invariably produces a tone of harsh, unmusicalquality. L.A.)

3. The change oj bow should not be noticed but be done as inaudibly as possible, and hereain a loose wrist is required. In fact, mastery of this most important requirement would be impossibleithout a flexible and pliant wrist.

Fig. A-Incorrect Fig. C-Correct Fig. B-Incorrect

4. The bow should never be drawn in a direction too far backward (Fig. A) or too far forward,ig. B) but always in a straight line, parallel to the bridge. (Fig. C)

s . The lower arm and wrist should always be moved to and fro with natural freedom andultaneous action. Do not hold the elbow too near the body and also beware of holding il too high.hen playing upon the G string the elbow must always, and quite naturally, be held considerably higheran when playing upon the E string. The faulty method of forcing or pressing the bow with the aidthe shoulder in order to produce a more voluminous tone, will never result in anything else but scratch-g; and this method must be severely condemned.

6. And finally: '1he straining of muscles and ligaments of both the left and right hands,ngers, wrists, arms and shoulders, through stiff or cramped exertions on the part of the player, mustabsolutely avoided


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Photographic IIIultrati ons -of- HOW TO HOLD THE VIOLIN

No. 1. FRONT V IEWLeft arm bent inward.

No.2. FRONT V IEWThe violin held in horizontal position only by aid of the jaw-bone and collar-bone.


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HOW TO HOLD THE BOW Left Hand and A rm P ositions

No.5. FRONT VIEWRight Hand holding the bow.

No.7. FRONT VIEWLeft Hand ~nd Arm forming a straight line.

No.6. VIEW from INSIDERight Hand holding the bow.

No.8. SIDE VIEWOpen space underneath the neck, between the thumb and


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H OW TO D R A W TH E BO W

),lo. 9. FRONT VIEWrrect position of the right hand while playing with theTIP of the bow.

No. 10. FRONT VIEWCorrect position of the right hand while'.playing with the

MIDDLE of the bow.


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MVW IV UKAW THE BOW

No. 13. CORRECT POSITIONViewed from the right side. No. 14. CORRECT POSITIONViewed from the left side.


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T H E S IM P L E S T R U D IM E N T S O F M U S ICNotes: Their Names and Notation

Musical sounds are represented on paper by means of Notes, named after the first seven lettersthe alphabet: A c D F G

These Notes are written on the five Lines and in the four Spaces of the Staff.

TheFourSpaces:

In addition the Notes are also written upon and between shorter Lines above and below theff, known as Leger Lines:

above

E G B D Fe Names 4 0the Notes 0on the 0 0ve Lines: 0

(Remember: Every Good Boy Deserves Fun)

D C B A GNames 4the Notesbelowe Staff: 0 -eo -0- ~ u-

e names of the Notes in succession:

The G or Violin Clefi- always placed at the begin-ning of the Staff. I t encirclesthe second line (G) and es-tablishes the pitch.

F f A . . . C EThe Names = ff the Notes I' IIin the .) "Four Spaces

(Remember: Face!)

fheNames ..Q.. -e- ..Q..4 0 -eoof the Notesabovethe Staff:G A B C D

0 -e- ..Q..0 I' 0., 0 I'I' 00 0-eo -0- -9--0-G A B C D E F G A B C D E F G A B

e Sharp C # ) raises a note one half tone.The Flat (\7) lowers a note one half tone.

The Natural (~) places a note into its original position.


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T H E S T A F F , B A R S ,end

M E A S U R E ST I M E

e STAFF:-the name for the 5 lines and 4 spaces.Rs:-the vertical lines which divide the Staff into Measures.EASURES-the systematized division of the Staff according to Time.

is marked at the beginning of a piece of music in fractional numbers.

There are many different kinds of Time. The following illustrate some of the principal varieties.

Three-FourTime: Time:1 1 3J ) 21 Three-Eight 1Time:Six-Four4 Time:

~2~3 3 4'J1 2 1

Six-EightTime: Time:

The arrows in each of the above diagrams indicate the Up, Down or Side movements, forating time with the hand, just as the director of an orchestra would use.

The upper number, known as the numerator, establishes the number of beats in each measure.The lower number, known as the denominator, establishes the note-value of each beat.

Always count according to the Numerator. M.B.

At the end of a piece, a heavy double-line serves as then of conclusion: I I


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NO T E ST heir S hape and T ime-Value

There are different kinds of notes, each of a definite, precise time-value:Whole- Note. . . . . . . . . . . . . . . . . . . . . . . . . .. 0

Quarter-Note .Half-Note. . . . . . . . . . . . . . . . . . . . . . . . . . . .. J

J;,)Eighth-Note .Sixteenth- Note .Count: 1 2 3 4 1 2 3 4

: . ~ W : : l , " o t , 2 : a l f L , 1 2 3 4 1234 234I J J J J J J J J IJmJJJ3JmJJJ31J J J J4 Quarter-notes 8 Eighth-notes 16 Sixteenth-notesAn apple divided into equal parts willillustrate how the whole-note can be

divided:

~B .. ,tiLL J t#4

~\J\J\:!1\:J\J

JJ JnnJJ Jnn

~ " n J J J J J , J J J J J J J ,J J J ,Jd_4sLj o


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RESTSThe rest indicates a pause or interval of silence between two tones. I ts time value corresponds

xactly with that of the similarly named note:

Whole-rest Half-rest Quarter-rest Eighth-rest Sixteenth-rest

I~ - - t . . . y I IWhole-note Half-note Quarter-note Eighth-note Sixteenth-note

( ' J J j) ), I I.

~I'iNot e s4 e II4 . , J J

( ' J J J J, -

Res t s

I , J J J73 i * J t I 4 . , -4 . ; - -4 I; t t t t4 ,\. , , j . , " t " t " t " t \,

A rest is as important as a note! I


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TH E F O U R S TR IN G S O F TH E V IO LIN

~G(4e) D(ac) A (2c) E (Ie)


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H O W TO A TTA C H TH E S TR IN G S C O R R E C TLY

Correct IIIcorrectThe above illustration shows clearly how the stringsshould be attached and wound around the pegs.

The above illustration shows clearly h ow no t to attachthe strings and wind them around the pegs.

The pegs should always be in good condition, should fit exactly and should respond to theghtest touch of the player.

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

R E C A P I T U L A T I O N Adjustor for the Steel E StringStand erect, with shoulders well back and chest forward; the weight of your body resting on the left foot.Do not let your Violin sag but keep it in a straight, horizontal position.Draw your bow mid-way between bridge and fingerboard, straight across the string; the point ofcontact must never vary and the direction in which it is drawn must always be parallel to the bridge.In changing from down-bow to up-bow, or from up-bow to down-bow, move the wrist.Play in exact time giving the precise \ alue to each note. Train your sense of rhythm incessantlythrough correct and proper counting.Be sure that your Violin is perfectly tuned.The music must be placed exactly in line with your eyes, the height to be regulated by the necessaryraising or lowering of the music stand.Good bodily health is of the utmost advantage to a violinist. Above all, students should accustomthemselves to well-regulated breathing while practising, remembering that inhaling of ozone willcause the blood to circulate more freely and in this way bring about the healthiest and most activecondition of both body and mind.


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Exercises on Open StringsA STRING

ACount: 1 2 3 4 (quarter notes)" ~J J J 1 J J J J 1 J J J J 1 J J J J 1 J J J J I J J J J 1 J J J J 1 J J J J : 1 11 234

) V M V M V M V: J J i I J j J J I J J J J I J J J J I J J J J I J J J t I J J J * I J J J , : 1 11 2 3 4

~ J ; 1 3 J - 1 J J - 1 J J - 1 J J. 1 J J 1 J J 1 J J ~-0) Keep bow quiet on the string, while counting the rest.B A

Count: 1 2 3 4 (half and quarter notes)~II~ J l ; j J 1 J J 1 j j l ; j J 1 J ;j 1 J ;j 1 J J : 1 112341234M .: J 1 J J J J 1 J J 1 J J J J 1 J ;j 1 J J J J 1 J ; J 1 J J J J : 1 11 2 3 4r" I V r" I Vj J J I j J J I J J J I J J J I J J J 1 J jJ I J J J I J J J i l lo

B ACount: 1 2 3 4 (whole, halfand quarter notes)4 (I ~. I: 1 ~. I.. .. I II II : 1 11234 1234; 1 J J 1 : . l;j j 1 . . l;j ;j I " I j J : 1 1123412341234I . . ! D J J J I . . v" I J J J J I " : 1 1


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E STRING

B ACount: 1 2 3 4

~ ~2 (~ r r F F i r r r F i r r r r 1 r r r r 1 r r r F i r r r r 1 r r r r 1 r r r r : 1 11 2 3 4

~~ ., V " V " V " Vr F F * I F F r * 1 r r F t I r r r t I r tf t I F F F * I r F F # 1 r r F t : 1 11 234i~.),.,~ ' r F - 1 F F - I r r - 1 F r - I r F - 1 F r - 1 F r - I F F til

.) Keep bow quiet on the string while counting the rest.

Li B ACount: 1 2 3 4i ' d@ ( ~ r r 1 r r I r r I r r I r r I r r 1 r . r I r r : 1 1

4 r ;4 IrE ~; I r F I F F F F IF F I r r F F I F e F I r r r r : 11 2 3 44 " ' V "r r F i r F F i r F F i r F F i r r r 1 r F r 1 r r r 1 F F r : 1 1Count: 1 2 3 44 ~ ." I If I , f 1 ,f u " " It I I:12341234~

~ II I r r I " I r r 1 u 1 r r I n I r r : 1 1123412341234

~FFI" I fFHI" , . ,I ' r r 1 V" I F r F r I " : 1 1


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D STRING

Count: 1 2 3 41 " ' 1

~ II J JJ J I U J U J I J J n l u J U J J I JJ JJ I J U J J I J a n ! J a n : .

*) Keep bow quiet on the string, while counting the rest.

aB A

i_0unt: ~ 2 3 4

~ ( ' J j I J J I i l l j I j J I J J I i l l J I J J I J J : I I~234 1234

J J I J J J J I j J I J J J J I J J 1 J J J J I J J I J J Jjil1 2 3 4" V "] J J 1 j J J 1 i l l J J I J J J 1 J J J 1 J J J 1 J J J I J J j : 1 1

a 'QlIB ACount: 1 2 3 4

~

l ( ) I VI' 1 : 1 1u u 0 u u u u u

6 234 ~234 V: I J J I u I J j I u I i l l i l l lu i J i l l : 1 162341234 ;234 1 " ' 1 Vj J l u i j J J J I . u I J J I u I J J J J I u : 1


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G STRING

B A

B ACount: 1 2 3 44 ej J IJJIJJIJJIJJIJJIJJIJJI12341234j J IJJaJIJ J IJJJJIJ J IJJJJIJ J IJJJr"~234 MJ Jail JalJ JalJ aJIJJJ laaJ IJaJ IJJJ :1

B A


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EXERCISESfor combination of all the four strings

Count: 1 2 3 4,~ g d a eiil'l j J J J I J J J J I J J J J I r r r E I E E E E l J J J J I J J J J I n a t "1 2 3 4,J I j j I J J I r r I r r I J J I j j I~ J : 1 1J1 234,

I ! ! I I I c ; I II II II : 1 1I II I, II- U U U u'tJ' n '0 'U1 2 34, Count: 1 2 3 4,~ I II II l j j I J r I r J I j : 1 1' .) Ju'0' n

Ensemble playz'ng shou ld be cultivated from the very beginning; it is of great value in d eve l ,ping musicianship in the pupil. Part') pa ge 8 contains a piano accompaniment to "Marching tohoo l." Study every tune with piano.

Marching to SchoolIn gay mood

Count: 1 2 3 4, M.B.

6" " "I , 1 v " ? t ? J : c# ~ ? f ~ ~ vd- - g- - d - - g d a d a e a - - d1\ r 1 21 I 1t) Co ?i -,) .., .... -,j . , _ , . " " 3 3 14 ,. 8 8 I 1

Pupil

I'l

~ 7 J : ~ (;I ? J ~ .., .., r (;I UI " ? t UI -1Yg d - - g - - d - - d a d- - g d gII _lt) .,; ?J "'d 7ft " - 4 J 1 I ?t .... ?J' 'U"


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EXERCISEfor gaining firmer control of the bow

Be careful to exert even pressure upon both strings.

:: :: :: :: :nU" :n-0- : 1 1Ij j I j r I r J I j : 1 1I j j I j

JI ] j 1 j J

7: J

I j r I r j I r J I j Jr : 1 1

I j234J J U I U J J J I J r r r I r J J J I J U J J I J J J r a

- f r J J I J J J J I J J J J I J J J J I J J J J I J J r E ~ 1J J J J I J J J J I J E J E I E J E J I J J J J I J J U J ~POSITION AND ACTION

of the Fingers of the Left HandAs may be seen from the pictorial illus tra tio n s and explanatory remarks, the fingers of thehand should be held above the fingerboard in a natural and curved position, and for the actual stopping ofnotes only the tips of the fingers, where the Hensory nerves are located, should touch the strings. Tothis correctly, and enable all the fingers to be kept above the finger-board, ready to fall into place withnecessary strength and precision, requires an upright attitude of the hand and correct poxit ion of the

ow alluded to in preceding inst ruct ions , and as a 'further necessary detail, short trimming of all theer nails. (See Part VI, page 513.)For the very first at t ernps at setting the fingers it should be remembered that the finger in use should

ch only one string at a time.Fingering for violin music is marked as follows:-

0 indicates use of an open string.1 indicates use of the first or index finger.2 indicates use of the second or middle finger.a . indicates use of the third or ring finger.4 inr!icates u!;e of the fourth or little finger.


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Whole- Steps and Half- StepsThere are two different ways of placing the fingers on the strings as shown on the followingdiagram.

I. Whole-steps, taken somewhat apart. 2. Half-steps, taken closely together.

DIAGRAM OF THE VIOLIN FINGER-BOARDshowing the four strings, distances between whole and half steps,

names of notes and fingers with which the notes are taken

E String:EXPLANATION OF THE DIAGRAM

G String:String: D String:E to F# A to B D to E G to Awhole-step whole-step whole-step whole-stepF# to G B to C E to n A to Bhalf-step half-step whole-step whole-stepG to A C to D F~ to G B to Cwhole-step whole-step half-I'tep half-stepA to B D to E G to A C to Dwhole-step whole-step whole-step whole-step

tice that: Ist Finger is placed alike on all 4 strings2nd Finger is placed alike on 2 strings and 2 strings (see pages 85 and86)8rd Finger is placed alike on all 4 strings4th Finger is placed alike on all 4 strings

G String D String A String E String 42

8- 1 2 3 4 :1 t 3 4 11 2 3 4 0 1 -e- .Q.0 0I I I I II 0 II I I II 2J!' 0u 0:e: "U' -e- G A A B C D E E F # G A B"t'J' D D E F #G A B C


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Professor Auer-a uwo Most important Principlesconcerning FINGER and BOW PRESSURE

1. CORRECT ACTION OF THE LEFT HAND FINGERSThe fingers should stop the strings with e.xceedi,1gly strong pressure, but .withoutffening or cramping the hand or fingers.The pupil should gradually strengthen and develop the fingers, so that they will fallon the strings like individual little hammers.

Thorollghly developed and completely trainedleft hand /i"ngers should be as strong and Ultfitil-ingly certain) as though made of iron. L. A.

2. CORRECT ACTION OF THE BOW ARMThe bow should be drawn lightly and smoothly over the strings without any roughheavy pressure.This calls for a different dynamic pressure from the two hands:

a) Strong Finger pressureb) Light Bow pressureThe Wrist should be free and flexible to insure free movements of the arm.The Change of the Bow should not be heard.

Ideal petj'ection in tMs detail o f bO'lCingre-q1lires th(tf the chtuzge itseif be made with utmostsmoothness and '[(lithouttke slightest sound or sc ratc h-ing noise. To gaz'11this peifection requires con-stant use of a flexible wrist. L. A.

These two principles of Professor Auer, together with holding the violin without a cush-constitute tlte most important of his scientific discoveries in connection with the art oflin playing; it cannot be mastered with ease, but if finally gained through unceasing ef-t and toil, it will result in the production of that luscious, wonderful tonal quality forich all the foremost disciples of the Auer School have earned such world-wide fame.


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A STRINGLst Finger

A String: 01 ---------lCount: 1 2 3 4 b b~ a a4 1 lJ J J J I J J J J I J J J J I J J J ; J Io 1 0 1rII I ; J J J J I J J J J I J J J J I J J J J1 0

ail : 1 10

" : 12 3 4 rI

: J I r r I J j I r r I II : 1 1 : F F I j J I r F I j j I 0 : 1 11 2 3 4

:' I e " I 0 rI" : 1 1 : 0 I n I 0 I n I 0 i j lFor quarter, half and whole -not.es use tke bow~'nge:cactly as marked on page 25 for Exercises onStrings.

E STRING1st FingerEString: 01 ~--------l2 3 4 f # e f # et 0 1 0r r r l r r r . r I F r r r l r r r r I U : 1or F l r r r r I E E r r I c r r r II

1 2 3 4rI 1 rI. r r I F F I r r I F F I . . I: r r I r F : I r r I r t I . . ~rII 0 I " I 0 I u : 1 1 : 0 it I 0 " I 0 i j l

The fst finger is placed alike on the A-E-D-G strings.


30/96

D STRING

D String: 01 ~~1 --------ICount: 1 2 3 4i:~ d,., e d e d@ ( ~ J J J J I J J J J I J J J J I J J J J I uo 1 u i 0,.,II:j J J J I J J J J I J J J J I J J J J I

: 1 1

: 1 11 2 3 4, . , , . ,J J I J J I j j I J J I u : 1 1 : J J I j j I j J I j J 1 0 : 1 1o 1 11 2 34~ , . , , . ,u I 0 I u I 0 I \ ; : 1 1 : 0 I u I 0 I u IoUo

Place the finger ft"rst, then draw tke bow. L.A.

G SlRINGG String: 01 ~>-1----------I

Count: 1 2 3 4- - J _ _ ~ a gagii 'JJJJIJJJJIJJJJIJJJJI-1 "lJ"

: 1 1

I"'l: 1 1 : q : 1 1The 1st finger is placed alike on all four strings.


31/96

A STRING2nd Finger

A String: Ol-~---~--------t~Count: 1 2 3 4

~

,., 2 2

., : r r r ! ~ r r F I "1........... 1.._._. 0unt: 1 2 3 4, . ,

J J 2I J r ! r r ! r r !1 1 _..

unt: 1 2 3 4: ' 2o " 01_ _ .eep fst finger down for the length of the dotted lines.

,., 2

: 1 1 : ~ r r r I r r r r I ~ r r r I r r r r I " : 1 11 _ _............ 1_............................ 0n

" : 1 1 : "0 02o if 0 U 0 I,o : 11 _ _ .

E STRING

E String: 01-1---


32/96

D STRING

D String: 01-1---i>.>-i ---~------ICount: 1 2 3 4~III J U j u I J U J U I . .o 1........... 0 1. _ 0123 41 J j IJJ!l;JI;lJI ..o 1 0 1........................ 012 341 2

1 " 1 24 1 : J J J J 1 J J J J 1 J J J J 1 J J J J 1 u : 1 1o 1........................ 0 1............... 0t " " I 2: 1 : j J 1 J J 1 J J 1 J J 1 u : 1 1o 1....................... _......__...__._... 0

o " 01............................1 " 1 2

U : 1 1 : u 1 0 1 " 1 0 I " 1 0 I u : 1o 0 1.................................... 02oG STRING

G String: 0 1 - 1 ---.......c0.>-i---.......c0.>------ICount: 1 2 3 4ij 1 " 1 "5 , "JJjJ IJiJJ I u ~I:ib' JiJJI JJJi' JiJJI u :.o L_ 0L 01 01 01 2 3 4. 2~JIJJI4JI4JI ...o 1 1 _ 01 2 341 ~ 2

" 2

IJJ 1 4 J 1 4 J 1 4 J 1 - : 1o 1 _._.__ ~1 " 1 2

:e: 'U' - e - -u -e- -u1 .....__ . ......__ 0-uo . : e : -u :e:1 .

he 2nd finger is placed alike on the D and G strings.'U'ou -o

A FUNDAMENTAL RULEfor beginnersThe fingers must remain upon the etrings wherever and whenever possible! Never lifl aftnger un-s obliged to do BO.


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A STRING3rd FingerA . String: 01-1--~2--------~

Count: 1 2 3 44 II~~ _ d _ __ E _ ~ E L I '0 '2 .. _

1 2 3 4~ r I _ E _ _L ~ E _ __ _ 1 : '2 .. .... _.

1 2 3 4~

1 ' " ' 1 3

: 1 1 : ~ ~ E _ ! _ _ _I E ~ E _ r _ I E E E ! _ J _ E _ E ! _ I : . : 1 12 2 _ _ _ _ _ _ _ _ _ _ _ 2 _ ~ ~ _

1 ' " ' 1 3 ..._..........: . : : C _ I E _ ! I _ ! ~ I _ ~ _ _ ! _ _ _ I ' ; : 1 12 ___.. _._..... _.__.... .

3............... 1 ' " ' 1 3I0 I " I 0 I 0 I " I 0 I II : 1 1 : " I 0 I " I0 I" I 0 I II I0 I , , ]1 . .._...._..__._.. 0 0 1___.___________________________2 . . . 2 ._._ .

E STRINGE String: 01-1 ~_----


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D STRINGD String: o t - I ------.(~,._1 4A ~~

Count: 1 2 3 4~ Ie J J J a IJ jJ J 1 uo 1 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 02 _

ount: 1 2 3 4J J I J j I ; ] J 1 u

rI 3: 1 1 : J J J J 1 J J J J 1 J J J J I J J J J 1 0 : 1 1o 1 ---------------------------------------------------------------------_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 2 _ _ _ _ _ _ _ _ _ _ _ 2 _

rI 3 _: 1 1 : j J I J J I J ~ I J j I 0 : 1 1o 1 ------_________________________________________2 _

ount: 1 2 34~ 3.__ ~ 3

I 0 1 II I 0 l o i n I 0 I u : 1 1 : I 0 I . . I 0 I . . I 0 I . . I 0 I 0 4 1o 1 ---------------0 0 1------------------------------------------------------__2 2 _G STRING

G String: o t - I ---------1---~-----fCount: 1 2 3 4

~ * . , j J J i I Oln 1 . .o 1 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 02 _

o 1 02 _ount: 12 3 4 " 3 _

rI: 1 1 : J O J ] I J lU g I J lU g I U lU O I . . Io 1 _

2 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 2 _ _ _ _ _ _ _ _ _ _ _ 2 _

o 1 ~_____ 02 _

,., 3: 1 1 :'U"o

:e.'"('J"~~"tJ'~,o,1 _ _ _ _ _ _ _ _ _ _ _ _ _ _ 02 _

"U"~"U"~'tJ"~"tJ'~uo 1------- - 02 _

The 3rd finger is placed alike on all four strtngs.Play in strict rhythm and count'


35/96

A STRING4th Finger

The fourth finger as the shortest and weakest of the left hand fingers, demands particular atten-n and special training in order to impart to it the same strength, stretching power and flexibility,ich nature has so freely be s towed upon the other fingers of the left hand.

A String: 0 1 - 1 ----~----------tCount: 1 2 3 4 4

~ $ II [ r ~ _ J E ~ ! ~:'2.__. . _3 . _ 4: 1 I : F r r fI f r m r I r r r f l r r r r lm r r r I II : 1o 1 .. ._._. .__.... _ _.__. .. 02 .._._."__._. ..__ ._. _.3 _._._ _............ 3 _ _.__.__ .ount: 1 2

~ C34 4 4r I t r I f r I t r I F r I t r I f r I t I T "1- - - - - - - - - 2 " : : : : : : : : : : : : : : : : : : : : : : : : : : : : : ~ : : . : : : : _ : : ~ - - . - - . , 0 1 ---...--~-::::::::::::::::::::::::::::::::.::::_:.-------.s . ._. ._ 3__ _ o

: 1unt: 1234

* : ' 40 ~ ..D. ~ 0. ~ .Q. ~ 0I I I j I I 0 I ., : 1 11.------ :r:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::..__._.-3 ._. ._. ... . ..__ ohe 4th finger is placed alike on all four strings.


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D STRING

D String: Or-I---


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EXERCISES FOR CROSSING AND CONNECTINGTHE FOUR STRINGS

Count: 123 44 " (j H I C C I ~ r . I r ; F . I ~ :1 1 : [C l e ( l f r i F f ! ~ " ' l e o I F F I F F I ~ I I Ie a 1 ~ 1 e a I t- J J I J : J 1 $ 1 0 4 1 : 1 1 : J J I J J I g J I ~ J I J J 1 0 J 1 0 4 1 j4 1 :10121 "U" 0123 3 "U"1 210 12 0 @ , I r r . IhIJ i l l I . . : . : ~ r IH I F F I r F IhIH ~ i l l I r l J I u:.2101210 12 0123 0 a C I e [ I t f I I T r I J I T I ~ 0 I C r I r F Ie a 1 2. J ? I @ ~ I d J I j J IJ J IJ] I J J 1 0 J I " ' " :1o ~ 1 2 3

EXERCISES IN QUARTER NOTES;_unt: ~ 2 3 4 1 2 3 4 I"l@ ( ; 3 'b e I ~ C C c I r F r F I r r r F I ~ ; :1 1 : , C b I r r r F I J r r F I F r F r I ' 0 . : 1 1~ , c C lc c r E lr E W r r F r l ' ; :1 1 :h ~ J I F , C c r l r .C c r I F r E F I ' ; : 1~ r ~ s I r . r r e I F E r E I E r r r I 'l :I:~ s , I F E r J I l i e W E FE r l ' ; :1

4 f" c H O H ( [ I E t r F I E r m r : 1 : [ [ C C I E r r n F r r C jr E r n : :1. e C C C I C C tF l t r r r l r E r n : :1 1 :o H F I [ H E I c f [ t lE r r t I ; :1 [ G n C I [try F r e t l fFFFj : : 1 :& [ I t e r m I [ ( ( [ l r e c e I:: J


38/96

4 fl J J a J U J J a U J U J I J J a J I :1 1 :J a U U J a J I J a U J I U J J aI :101231232 U 132 0000

. J a J I ~ j j j I j j J J l J a J J I ; 1 1 :J J J I]J a a IH J J I J U J J I :10123 3 'i f 021 132 23- 't

Always anticipate the next note to be played and prepare for it with the necessary finger.

~ II J U J ; l J j j 4 J I J J J J I J J J a l : I I O U J J U J jJ lp b p j l : 11231232 "0" 132 "U'4 J h d J J J J I J J J J I J J 1 J 1 - :1 1 $ w lu w U O J 'J J J J I :1

12343 "'0" 21 132 2 3 "U"

gm lJ# lIJJJ# IJJJJI :llgJJ jIJJ jJ IJ#JJIJJJJ : 11 2 1 3 "U' 321 1 32 "tJ"9 ~ Il 9 JJ J I J J J J I ~ a a J I : 1 1 :o s ~ I d r r r I F o r r I ~ :10321 0 321 'i : I. J J J J I J 4 J J I J l J U I : 1 I : @ J d I J g J g I J O J S I _ : 1 1o a 2 0 -u- 3 0 3 0 3 2 11 0 0 o 0 0 @ : J J J I J W J I n~ I a U J I d H r I j r r e i e [[tilF EHI ~ ' I I

123o

[ c e r I E r r r 1 3 t ~ j I C r r J I n Y u I ~ J J j I g W g l :o i j l_ I I1 2 3 3o

IJsten attentt'vely to your own"plaYl"ng!Try todetect the least flaws ,71your l'ntOtlll/t"anand useyour ear Incessantly toplayln tU'Tle"


39/96

F NATURALnatural onthe E String is a half-step fromthe open string. Bend 1stfinger wellto the left and place it verysely to the nut. -E STRING

1st Finger1 E ~tring: 0t0---------------Ii_unt: ' d 1 1

0 @ ! F ' Fir r I r r IFF I F r I F r I r r 1 F t : 1 1r r I' r I r r I F r I' E I' E I' E lE i :1

E STRING2nd Finger

E String: 00~-----------------ICount: 1 2i ~ 1 2~ lE E \1' r I r r I' , IE ' I r r I' r I r * :1

' c l 1 E , I r r I E r I r r I' , I r , I E r lE t :I IE STRING3rd Finger

E String: 0 " 0 ~ ~ ICount: 1 2 3 V

~ 123~Ifcrlrrrlfff lrrr Iffr Iff ' lE E , lE i HI'd12 V 3 23E rr IE ' r If r , Ir rE I r r r Ir f f ir r r lE t t ' 1 1

E STRING4th FingerE String: 0 F G 2 A>-------


40/96

F NATURALon the D St r ing

Fnatural is a Half-step from E. Place the 2nd finger close " 0 , 0 the Ist finger.D STRING

Dtring: Ol----~E F A ...........a....---_I~ ~ 'V4-Count: 1 24 1 J J I j J I j J I J J I W J I J J I J J I J f 1o4 ~ j I j J . 1 : 1 J I j J I j J I J Q I j J I j f :I I

First Little Etude2/4 , TIME

Count: f 2, 1 2, M.B.

o, C I r r I, r I F F I C r i C r I ; r Ir r I r r Ir ; I C I II The Babbling Brook

CheerfullyCount: 1 2, 1 2, 1 2,, . , Children's SongArranged by M.B.~ ~ " 1 9 - 1"- ~ 0 2eII 1 " 1

@) . . . . . . . T . . . .2 3 '> 1

~ 0 ~ 0~ 2_ ~~ - - - - - - -

A*)

V . . . . . . . . ~o

Keepthe 2nd finger on the string.


41/96


42/96

The Cricket0 / 4 , TIME

Count: 1 2 3 4 HENNING

35

I f 'I M~ ~ 1 0........ 2 3 2 ' 2 . .. . . . "'14-.... 1 3< Imitating acricket!(, M _J -....- I _ '"" eJ - - - - - - - I

Pupil

Teacher

~ M 2 0 S 4 S .~ ' 0 . . . . . . . . . . . . . . . . " . . . . . . . . . . . . . .. . . . .II M j . .u -e- ~ ~"? q"_ ' ' 7 ! " " ~.3 3 3

FOURTH FINGER OR OPEN STRING

~d a e,.I'U

The above three notes may be played either 0.1 the open strings, or with the 4th finger on either G, DA strings.4 0I jj I II M4 0 4 0 4: I I : F r I r r I "51uThe :'ule IS: Use the open strz"ng-or ascending; the fourth

finger for descend1.ng scales orpassag


43/96

The Scalescale is a succession of ascending and descending notes. There are two kinds of scales:

Diatonic and ChromaticThe diatonic scale may be either

MAJOR or MINOR'['he MaJor Scale consists of:2 Whole - steps and 1 Half - step I3 V,llo1e-steps and 1 Half-stepl

he Major scale can be formed from every tone and derives its name from the first note.

THE MINOR SCALEhe Major scale has its parallel Minor scale, the key- note of which is found one whole and one - halfes (a minor third) lower than the key-note of the Major Scale.

he Minor scale is different in its ascending and descending form:It consists of:1 Whole - step and 1 Half - step t- Whole -steps and 1 Half -step ascending2 Wnole -steps and 1 Half-step !Whole-steps and 1Half -step descending1 Whole- step

In the playing of both the Major and Minor Scale it is necessary to play certain of the important steps some-skarpm' or flatter than others in order to emphasize the character of the scale more decidedly.

erefore mind the following rule:

Playa high tkz"rd and a high se/Jentkrthe leadz"ng tone) z n the ~Jfaior Sea le .Playa low thz"rdand a high seventh

t"nthe .J1h"norScale. L.A.


44/96

SCALE OF C MAJORHalf-steps: E-F and B - C

Count: 1 2 3 4

37~ . . .

I, ~ -e- "-"~ n -

4 ! . i . . . . . . I . .Pupil

Teacher

" 1 2I@.

1l_

4 ! . i 7.. . . . . _ . . . . . -./ -._..... . . -- '-!!...--


45/96


46/96

LivelyCount: 1 2r" I

Merry -Go-RoundArranged by M. B.

41~ 3 1 032 ~ 2 3 0 !_I . 3 0 I ._ I-

f "r" I " "4- . . . . . . . "'''Y;J. . . . . . . . . . . . . . . . . . .

Pupil

., 1~ 3 2 0 ;, 0 2 3 0 3 2t I I 0"

Y . . . . . : : ~DOTTED NOTES

IJot placed after a note prolongs its time-value by hal f.lay the Down-bow slowly, and the Up-bow quickly, using the same length of how, up and down.

Count: 1 234

~ II J . J I J J I " .o I r" I Vr I r ' r : 1 : J . J 1 J . J 1 j. ] I j. ] : 1 1oJ _ r" I V J . J I J . g 1 1 J I J . J = I J : r F i r ' E I r E I r E : 1own-bow quickly, Up- bow slowlyount: 1 2 34

II J . I J J . I r ~ . r " 1 V1 r r ' 4 1 : J J 1 J J . I J J . I : J j. : 1 1o1 2 3

V~iJ. J r - r" I Vr - 4 1 : J J . j. J . : 10wn-bow slowly, Up-bow quicklyount: 1 & 2 & 3 & 4 &r" I ~(~J. J ) J.

o oount: 1 & 2 & 3 &I~. ~3 I J . l J I ? ' ~ r I r ' D r 1 :# . ) J I J . J J I J . ) i J I J . J j J : 1


47/96

AmericaWith dignity

*) tenutor " " I 3

Arranged by M" B.

43~ 2 - 1 2 ~ 0 0 3 2.I . .~ 1 1 2 3 ICount: 1 2 3Il , . ,I ~ - . . - \_~~ T . . ~ . . ~ . . .simile

3Pupil

Il ~ .. 0 . o 3 0 o 3 2 0 -e 4 3 2. ..Il -

: j " " - .. I . . . . . ~ " ' - : J ' "1 1 1 1 2 3 1

LEGATO PLAYINGThe Slur

Legato means the playing of a number of notes or a pa~sage in a smooth and connected manner, with noreak between the notes" The s ig'n for such playir:g i-, the ~o-called slur, a curved line drawn over or undere notes, signifying that they are to be played legato and indicating to the Violinist that they are to be playednone bow"For this kind of playing particular care mu st be given to the equal d/visl"on of the bow, f. i. :-

With 2 notes to one bow:Divide the bow into tuo parts

With 3 notes to one bow:Divide the bow into three parts

With 4, notes to one bow:Divide the bow into four parts

SLURRED NOTES ON ONE STRING2 notes in one bow

~-----B ----------~~A'"

Count: 1 2 3 4

~IIJ:jjJ 14JOJ IJO JO IJO JJ IJJU 101JJ IExactly one-half of the bow for each note

: 1 1""0"

U : 1 1


48/96

a : 1 1"0I' 4 1

3 notes in one bow

B x AExactly one- third of the bow for each note

4 notes in one bow

Exactly one-quarter of the- bow for each note


49/96

The Secret of Perfect String TransferONE OF PROFESSOR AUER'S MOST IMPORTANT RULES

Any bowing is relatively simple as long as the bow is used on one string only. It isen the bow is transferred to a netc str ing that the difficulty arises. It can really be saidt the main problem of Bow technique is embedded in the art of a perfect change of strings.

CHANGE OF STRINGSIn order to gain a smooth inaudible String Transfer, Prof. Auer recommended that the

just used, should remain on the string until the bow has changed to the new string,t is: A momentary and simultaneous resting of both fingers on two strings.Prof. Auer claimed (and rightly so) that a perfect String Transfer teas impossible with-t adhering to this important rule.

EXERCISES FOR STRING TRANSFERSwith stationery position of two fingers

Count: 2 3 4i ~ 4@ ( ~ F l ' RL .

n3~ 4: 1 : r r ft

1 .

3on2 3: 1 : q 4 ] J j-----.;1 . : 1

2


50/96

String transfers with 2 notes to each bow

B x ACount: 1 2 3 4 .--

4 1 1 J3 JJ I J J 4 J IV a IfF 81fr fr I fref I::.....,.../,1~ ::_....' 3 4 3 .....? 2 3 4 0 1 23 ~ 1 3 .~f IT m l I rl f = t I m (9Ft D I0J 3 I

1............ 2 1............. 2 '--'0

Q)JJIJJJJIJJJJIJJJJIJ3JJ 1_ :14 ~ 2 '------' '----' '-'" 3"""""'4 '-"'0"""""'0 '---4 """""'41.......... . _ _.String transfers with 3 notes to each bow

6~(==========~~,>~~~'"B x x A


51/96

String transfers with 4 notes to each bow

B " A

: 11......... :1 4 ::---...._..,. .~ ./......... 3~

T he D o11In playful mood2

A.TEGNERArranged by M. B.

51

~ r " 1 ~- I 1~ ~ 3.-- . . . . .. : : : - ~ ___.r 4 s- ~ T .. 4_/ 3...........1r : unt, 1 2 3 4 2 3...._ ........r " 1\ ~ ~ . . . ~ - - . - ~ ~ -,j- . . . +

Pupil

Teacher

2fJ r " ' " " " ' I -~ 8............'::: - - - '-- ...__/ 4 '!i~ _ . . , . T . . . ~ 40 2 3~

~ . . . ~ . . ~J ~ T ~ ~ . .


52/96

VARIETIES OF BOWINGPractise: al Separate bows

b) 2 notes in a bowc) 4 notes in a bow

Always use the open string wherever the fourth finger is not marked,

, . ,n e E J J ta l P JJ f r a I t rU ' i;J 1J3p rr fr II I

In the following exercises the down-bow should be played fjuz'ckly and the up-bow slowly, using this partf the bow: _A-B, B-A The Squirrel

( 7 = = = = = = = = = = = = = = = = = = = = = = = - - - ~ ? ~ ' ~ J r ~ mB A

ScherzandoCount: 1 2 3 1 2 3i?ea;c~t~2 ,~ j J I J J

Count: 1 2 3I r r I F r : ] 1

53~ , . , V 0 ".---., ..- . . . . 0t ; - - - - i~ 1 '-"'2 3 _ _ - - -I'l . . . , . , - - - 1 1 - - . . . . . . . . . . . .f .~ " ' - 4 ! ' - - . . . . . _. . . - ' : " ' . . . . . I I

, . , V o HenningPupil

Teacher

, . , , . , o~ 3 - ~ 0 ,---. ..--..:;" '- 0~ r I IrJ . . . , . , ~ 1 1 _ - - . . ~

-#--_- -- .. _ J I


53/96

Correct Finger-actionAcross the Strings

To learn how a correct finger-action ({(YOSS thl: strings IS carr ied out, is of equalportance to knowing how a smooth and correct string transfer is to be carried outth the bow.A correct Finger-action when crossing the strings calls for a side'li"lIYlILO~'e1llent offingers. This sideway movement should be carried out with ease and freedom byfingers, independent of the hand.

Do not move the Hand!Move only the Fingers!

We have another movement of the hand: The /(:Jlgth7i'ise movement, which is con-ered in Part III.It is also important to learn not only the exact position of each note on the -i strings,

t also how the different notes on the different strings correspond to each other acrossstrings as well as their correct fingering.

Eo

D O I - ' " ' ; ; . . . - - - - - ---- 3 V2 1 " " 11fJ ~ 3 1 V 3 V . 3 ~ 2

'- I I" j, j. "_" _ f - . . 1 ! : _ _u_ V V Vu . r.I ! " " I V pV:ifJ . L . I o 4 1 .; 1 " " 1 ~ ~ ~ . , . . _ . -.t : " j,j. P I

t t . . I I It ..SCALE OF D MAJOR

Half-steps: F#-G and C# - DPreparation:

IIW J I f i J J I B d J I 0Count: 1 2 3 4

r " ' I o~.Ji'- '-"11. ,j ,j. 1 " " 1 r " ' I ' * r1 1 " " 1~ . . . . . . . ~ ~~ ~ T _ _ _ : " " ; .~ d~ ,::i :;t

fJ ~

" " ' "J'I ~ 1 " " 1 _j_ 1 " " 1 V- i~'" . _ _ . . . . . . . . . ~ 'ft. ~~ .:~ ~ .. .t ,.#~ ___ ....Also to be practised: 1 " " 1 0 1 " " 1 0I;] j iJ jJJIJ ' rFElJ Hid Hid elr L r I ICount: 1 2 3 4 Count: 1 2 3 4 Count: 1 2 3 4


71/96

THE D MAJOR TRIADcIn varied form)

.Remembet' the most z'mportant 0/' all rcquz"re-ment s: Always toplay in tune. M.B.

EXERCISE IN THE KEY OF D MAJOR

;I

TEMPO MARKSAs all pieces are not played in the same tempo, certain words and terms (mostly of Italian origin) arevided with which the pace or speed of a movement is indicated and with the aid of which the absoluteof the notes is established.In a general way there are four principal groups of tempo-marks in use, descriptive of:

(1) Slow tempo(2) Quick tempo(3) Accelerating of speed(4) Slackening of speed

The principal tempo marks necessary for present requirements of a beginner are included in the fol-ng list:-

Adagio slowAndante moderately slowAndantino a little quicker than andanteModerato at a moderate rate of speedAllegretto moderately fast, livelyAllegro lively, briskPresto rapid; very quicklyRitardando ~.Rallentando growing slower and slowerRitenutoa tempo l he ori ITempo primo return to t e or rgrn a tempo

Also see Part IV,page 347Never overtook tke tempomarKs, butfoltow themC3Jac#y!M.B.


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Rustic DanceCo u nt :1 2 3Allegro (Gaa:ly snd humorously) Arranged by M.B.

811 " 1 ~ 1 : ' 1 " ~ __ 4. 4. ~ I

~-

t: f I - I;II J .I , . , 0 _l a 0l V . . '" . . -. . . . . ., " ' " . . . , . . . " . . . . . .PupilTeacher o o~ ~ 4 0 - _ 4 4 . . . . . . . I- . . . I T T11 . . . . . . . .II ~ I 3 r'Iv . . ~ . . . . I . . . . . . . , ~~ ~ - 4 4 4. 4t . . - - -f~ ~

, . ,~ . . . , fl ' i t -.j . . . . ~ ~ ~

2

~ ~ 4 ~ 4 4. 4 -t - . . - ~pe: . I l o 1 " ' 1

4 J .. . . . . t:II2

~ . . 4 4. ~ . . 4t - f Toroscendo;II J .I V , . ,

':;i .. 4- . . -~..,~ ~ ~ 7fi-~ '= i ~'~ . . - C i TLinde man: Norwegian Folksongs.


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Intervalshe difference in pitch between two tones is called an interval. For a beginner it is sufficient to learn the fol-ng intervals:-

Prime Second Third Fourth Fifth Sixth Seventh Eighth

'!ff II) J II) i l l Uj ~ II; j 1 1 1 J IIj r II) r I I.tAs may be clearly seen:The interval between two notes of the same degree is a Prime

The interval between two notes of different degrees is a Second

The interval between three notes is a Third

The interval between four notes is a Eburth

The interval between five n ote s is a Fifth.

The interval between six notes is a Sixth.

The interval between se ve n notes is a Seoe at/:The interval between eight notes is a Octave .

, . # J J' # J J J, - # J , 1'~Ij, # , J , J' # 1 J r, # # J V t 4, - # J r

It cannot be stressed too much how important is the study of int e rva ls, for the violinist to be.The ability to recognize an interval when it occurs, the so called Interval Recognition should bees-ially cultivated as it greatly helps developing the violin pupil's musical se n se and also enables tomorize better and more easily.

When_}}1"actisingremember that !Ioumust do so slowly and slowly and againsiowly! l'n order that you may have suf-ficient time to consider and think abouteach note and each bo-wbefore actually2Jlayz'ng. L. A .


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SECONDSCount:12344 ~ 1 1 J U J U I J U J U I J r J r I U r r lF r r r I r r r r I Q U J UI J U J U I . . : 1 1THIRDS

FOURTHS- ~ ~ . . . . n ~ 2i ~~I J F J Ijr F r I F r r t I r f r F ir J F i r jJ t I W J J : 1 1Keep the fingers down while crossing stI'ingsSIXTHS

j ~ 343 toM 4 3 4B 5 r r U U r r J I U Q I C F r i I F p J r l r O J r l r O u r I 3 : a ! HKeep the fingers down

SEVENTHSMI~t ,2 4 e t ~ 2 4 3 0# 5 F r U I J U U I d r V r I F J r i I f P J t I r O J C I r ! J J P I J J ; j : .Keep the fingers down

OCTAVES3 ~ 3" J fb I J r t o I J ftF I r J i t I t F o r , 0J r Ih j r I r ~ f :1

Lying exactly opposite to each other on adjacent strings, perfect fifths are always taken, with the same fingerjepting of course .....en they occur on the open titrings .IJ'h .... In ...... "tnnnl n . . th", ... int.APV ...I"..nnlrl ... lw>I.v,", hA nl ...""tj_ simultaneously upon the two strings.


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The Big CrowNorwegian Folk Song

All~retto (.Lzgktly and ga'ily)1

Arranged by M, R

Pupil ~I ~ ~ - ~-... ,,-- , , - - . _ -...t.. : e .. . ) **)Count: 3 1 2 3 1 2Il jj, r" I@) . . :i . . . . . . .

3

3~ , u . ~ .fI-. , , - - . , . - - - r--:. f > 0) . . . . ) P . . . . . . ) *)-r" IIl ~ ,...._,.- . . - - . . --../ :il:i T . . ~~ ~ ~' . .

Particular care to be taken with the bowing in this piece. In some of the measures f.i..)he Down-ow is to be played rather slowly and the Up-Bow muck fjuz'cker; then again this is reversed at ... )here the Down-Bow must be played fjuz"ckly and the Up-Bow muck slower.

EXERCISES FOR CROSSING THE STRINGSCount: 1 2 3 41....................................................................................................................................................4 jlh J J J J I J j j J I J J J J I J J J J I J J J J I J J J J I II

*) 4 0tst Finger on both strings1...................................................... _..~ . , r r r F i r r r r I E r r F IF r c I E r r r I r r r r I . . I

o o

.) The first finger placed s Imul ta neuus Iy upon both strings and held down until end of dotted line .) Alternate raising and re-setting of the second finger as previously explained on pages 59 and 64.


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MinuetDown-Bow to be drawn more rapidly than the Up-Bow

Allegretto (Sprited)Count: ~ 2 3 1 2 3

3 1 0 1 3

W.A.MOZART(composed in his Fourth Year>

Arranged by M. B.

85~ J , j . :.--.. 3 - 0 0 r=-.'- - , , _ _ _ . - - _ _ _ _ ----4 I! . . ~ . . '-"'"f "---" p, II li r " ' I~ ""_____./ . . . . ~ 2 ~.

4

upil

~ ~ - - -. ,.---- , . . . . . , 1t. ' - ' " ' " '-'"'" . . . . . . _ _ _ _ '--'f .)II~ r " ' I~ ~. ~ . . - .+ 'It"'.. . .

3 1___ o ---.. 3 1

3 1 4 1 3~ J , j . - 1 1 1 ,...., 1 - -ttl! ~ tt"" - - '7 ": ._/ ~~ ":' " ' * ! - 4f- - - _ _ _ _ ...._J_ _ _ _ a tempo _ _ _ _ - . . . . . . , . . . . . . .lflf) rit. pII ~= t 7J : ; : -61- ' r;;. ::; ~

1 ' \ ~ 0 'Y::;.. ~ 3 4t: ." * . . _ _ _ _ . . . . . . _ _ _ . - - - - - ~ . . . ~ . .~.f rit. pII ~

~ - "- - - - - - - - - - - - . . . . . . . . _ _ ~:;- ---~ ~

3 1 o 3 3

...) Pl rs t finger placed on both st r lrigs s imul t ancous ly ......) Place f'lrst finger on ( D # > one-half tone lower than E and then glide up to E without raising the finger.


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BOWING EXERCISESacross two strings for wrist development

To be practised with this length of the bow.

"

: 1L_ ..... 2 ~8___..... _ ....

A Norwegian Valdres DanceAll~retto (Wi'tlt vz"gor) Arranged by M.B.

87Il~ 0 0 4, ~~ Coun~,1 *)2- 3"'- . . . . . . . Ir. .II ' M -~ CJ IJ . . 4- - . -eacher

,1 ~ 0 ~ . . .;;--.. - - -., It P"" . . --r7 4 ~ v . . . . , ~ ~

o 0 , . ,

~ ,Ij. ~ O - - 0 4,. . . . . . . . . f - - - ~- - r7,., oresc: -} ~ c.; . . .., IJ . . 4 ~ co 0

) See author's Preface, page '1.


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SCALE OF B MINORHalf-steps: C#-D and A#-B when asc'ending

G-F# and D-C# when descending

~ M oreparation: (' O J 1I J j#


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VARIED TRIAD IN B MINORCount: 1 4I r r r r J J2 3 4 1 # 389 ~ ~ e j J ? I F ~ r t

4 3 4

~*I J J J r I r r r lip Ir r r r I r J J J IAn Important Rule: lise the .Bowspartnglyat the stat't of long sustained notes;as a rulebegtnners will always draw the .Bowtoo qUtc~ly at the start and then find that there z s hardlyany Bow left witA wht'chto end the tone. M.B.

The OrientA Swedish Folksong

Andantino (Sorrowfully and longzngly)Count: 3 4 1 2 3 4V

Arranged by M.B.1 ~~ ~ - - -

It P I I = =, .. r" l 1 " ' 1IU . . . . I 4- r :::T

~ ~ .--... V0

~ , . I I-.. , . ,IU r:J ?J fJ ~ . .~ ~ - - ...- ~0 0It C1'68C. r .(,.. .IiV r:J 4, -T

V

~ ~ _o ,._ - - - 4L -~ - P I - - ITit.,.. .Ii 1 .V ~ ~ 1 I 'U P- '---= 'U...___..,


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SIXTEENTH NOTE SComparison of the Sixteenth Note with other Notes met with thus far:

~

-6 Sixteenths to one whole note 8 Sixteenths to one 4, Sixteenths 2 Sixteenthshalf note to one quarter to one eighthIi note note_Devoteapect'al attenUon to the Up-Bow,

as from nature it l3 weaker than the .f)own.Bow, Therefore, in order to strengthen ,itand t'mpart to t't the freedom and swz'ng qf'tlte down-how, tlte notes sltould heplayedmore heavt'ly and wz'theesra strength. L,A,

Use the wrist)( )(

- # c r r r C c c r r C E r c r r r l t t h t f f r r c c c r c r r r l II : 1 1h ~ J J J J J J J J J J J J J J J 1 t J J J J J J J J J J J J J J J I : 1 1u1 I"l4JJJJJJJJJJJJJJ IJJJJ# JJ JJJJJJJJJ I : 1u4.

orreet use of the lower right arm will impart breadth and strength to your general tone production.e Prot. Auer's remark, Part III, page IS2 .


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SEVENTH ETUDECount: 1 2 3 4 *) M.B.4 ~ Il . , d r r r e r c r r r I f r E r e e r r r r r r r r t e l [ g C r C r r r r r J @ 1

~ o J J J J J J 3 3 0 U D I J J J J j J J J J J J J J U ;n I ] J J J J J J J J J J J J J J ID B J J j j J J J J J J j j J J J J l J J J J J J I J J I U @ I d " g r e F F E E C e ID B # f ' r t q r r e c r p q p E L r I r E c r e r e e F, r o o IB. r I I

Pay street attention to the time/Count/andalways play in tune. M. B.

There is Music in the air, There is Music everywhereModerato Kspresslvo,but t'n st1"z'ctrnytnm "..-..~ .It 1"'\.--- _~.,._ ~~ _ ,..

P9~~~~~~~~f~-~~~~~~n~~~~~~~ lioiiii;....,j& 3 & 4 &

M.B.

Count: 1 & 2" J , j . _ - _ - - - .

e. - I r-II ~ 4 .*) .,. f'- .,. .. , . . , . . , . ~

~ J , j . 4 4 r - . _ n ~ n'- - - . . . . . , . . . . . ~II ~ 1"'i _ M _ r '1 -_~ - t' . . ""fl' . . " " f I . . - d -

"Tile third fingllr having moveu beyond its usual po s ition for the JlI'p('t;ding A# must be dr awn buck II.gu.in

efore placing it on thi .. D.Move the f' i rs t finger back one , half' step for the A# and f'orwur-d again to B, without r2l.ising the finger.

}I/everp1acll.~ewhen !Iou are ttred.L.A.

You must be wide awake and use all your faculties when pr-act ising .


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Seven WomenOriental Song

Allegretto conpartando e dolorosoC t ~ 2 1 2 Arranged by M.B.~.. ~ oun :,.;; - ,,_>

f. *~-' - I t - ' 3 .~fJ ~ J . , . , m .tU . . . ~ - -. . . . .. . . . . ~ - . J - _ _ , - . _ . . . . , ...............".._/ \._. . . . 4"-...:2

~~ - ~f. P atempo I - ffJ .. 1tU T':"...~T - . . . . . ~ -,j ...__, -_./ -~"*! . .._ ; '-- -.._; ~-,j~~:it .. T :'''

1 3

2 2

~~ . . . . . . - 3f. ,-- '-.:" 'N t. _ -p : ; : : ; : : , . . . . . - - - - - 4,-Il .. _l .J.L J'lt) '"j'


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Count: 1 2 3 4# Mlso to be practised, ~ # i II J r I r Count: 1 2 3 4M 0 ~r l i d r r r I F E r e I ICount: 1 2 3 4

u , # 5 4 I S E j J J n J J : J j J J I au r r e t r cct frtf .." ... 0 0 and back again

Carry Me Back To Old Virginny(Plantation Song)

Allegro moderato con sentz"mentoCount: 6 12 3 456

E. P. CHRISTYArranged by M. B.

97f J ~ ~ V ,r-:: _".--- r--::. ~ V ,,--:-.~ 4, 4 I 4 I r 4 I 4,f I P~ ~ l l : M J ~1 1 " ' "I . . . . . . ~. ~=4' 3"-'" . . . .__./ _ _ -

Pupil

~ ~ ~ - I t ~ - ~ .- I 0 ~ - ~.. .. _ _ _ _ , - - - !fIt ~ ~ " ' ".. .V . . ~. - 4"4-r!4~ 4 4 . .___.." - - - ~ . . _ _ _ _ _ . ,

o v

~ ~ ~ : 1!_ r."\ ~._ _ . _ _ ~- :--._ . - - - - - : - - - . . . -- I.e. p rit. . . . . . . _ ,Il ~~ I ' T ' 1':\.. . . . . .~ _ . . . . . . - _ _ _ _ . . . . . . \ . . . _- :Z . . ._ _ . /


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Staccato BowingStaccato- an Italian word- indicates that the notes should be played short and separated from eachher by soundless rests,Staccato is marked by small dots over or under the notes and is produced on the violin by a shortw stroke and then a sudden stop of the bow, During this pause the bow should remain silently. Ike sln'ng, whereby the vibrations of the st r ing are stopped, the tone abruptly broken off and theort staccato effect obtained,Too short a stroke should not be used and the wr is t sho uld be loose and very flexible,

ILLUSTRATION FOR STACCATO BOWING~ ]I 'A I

)( x

M V~15 J 4 J 4 I

Count: 1 2 3 4 EXERCISES FOR STACCATO BOWING 0~Il g g g g l g J g g l 4 4 4 4 I n n I U J J 4 1 J 4 4 4 1 t t t t 1

'" . .. . ...t tt F I ~ 4 4 4 1 4 J J 4 I 4 n 4 I n n I g g g g I a a a a I u :.

. '" .. ....Count: 1 2 3 4 STACCATO EXERCISE No, 1

~i IIg a g a 1 4 4 4 4 1 4 4 4 4 1 4 4 4 4 1 4 4 4 4 . 1 4 4 4 4 1. . '" .4 J J J J I J J J J I 4 4 4 J I ' " ' I ' " 'ItttM. . . . . . . r r r r r F F F... , . ttt .D-i t F t c I t r t t IFtEt Iffffl[=== I : 1~ ,. . .. r r f t I f if t 1 F E t t l t t t t l C t F r I t t t r I

. r r r 4 1 r r r # 1 J J J 4 1 4 n4 1 4 4 4 4 1 4 4 4 4 1


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STACCATO EXERCISE No.2

STACCATO EXERCISE No.3

* D ~ t F t r I~4 4 4 I4 4 4 4 1 F t t t l r F t t l h t tr Itt t t l& r E t I U h f I E h U 1 4 H J I n 4 J 1 4 # n I,', I IWatch the z"nt()natz"onand UstlJn to !lour ()wnpla!lz"ng as attentz"vel!l as posszble. M. B.

COMBINATIONof legato and staccato bowing

Count: 1 2 3 4 THEME

~jj II J J q 3 I J J 4 14J N IJJn Ill) N IJ) 4 U 14] 4 4 I_ _ _ . .- J J I1 1 4 4 I t J n I O n J !JN I !U n I!JJJ IIn;I _ I~. ~ '-.: "0"


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1st VARIATIONwn-Bow slowly, Up-Bow quickly. Use same length of the Bow up and down

~'''' tg ) ? IW U Iuti r liT'r t I J Z F F t I. ~ ;:-:-....l(rtF I@FltFEF IFEre I

~ ' * 4i!IErrrlWtlmrlffrJIUJ4lo I2nd VARIATIONDown-Bow quickly, Up-Bow slowly

3rd VARIATIONStaccato at the point of the bow


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Happy School DaysCount: L. Spohr

o..

rI de resc. p

4

I 'J ~ ~ .~ +-. -. . . .. . "*!. - - . . . . . . . . . f -'1 Jj, ~ - * : ; . . . . . . ... ~ .... 1'. 1\- -I)

Remember that ! IOU must hold thc bow firmly andplay with a loose wrist and1W t contrarily 'wld the bowloosely and ptay witha stlff wrist. L.A.

)Observe raising and resetting of the 3rd finger.


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SCALE OF F# MINORHalf-steps: G#-A and E#-F# when ascending

D-C~ and A-G# when descending

Count: 1.2 3 4r I ' \ , I j . . f I o n 114

I~, . , . I I ~ n.f.) ~ . . 4 ". ~4 # ? : i . . . . . ~.1 I , 1 j . . f I o ~ _l 4 4

,., .Il ~ I

~-' I ..,-", '-'" ~ . . < ? ' J ..si-Count: 1 2 3 4 Count: 1 2 3 4i # n 0 I"l 0-1 4

1.o to be practised, i' it" J J I J r I I @ ~ 4 ~ I t * t # t r Io 4 ~~. --... 4 4~ 3) 4 4 I ffl ~ tt I r r = r I r r q t - t I F l ' 4 ~ I j I I

BROKEN CHORDSCount: 1*~I'

o 3 1 2


89/96

DOTTED EIGHTHSLegato

Count: 1 & 2 & 3 & 4 4


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DOTTED EIGHTHSStaccato

are to be played, v00@0Observe a momentary rest between the two notes.rk the staccato note well.

Count: 1 & 2 & 3 & 4 &4 II!b g y ~ @BBf]B IUU U U I J.lJ .lJ .l l . ~ I

Do not lift the bow from the string and

o~ ~ ~I c I c J r I ~r -. .: 1 1

n-II : 1 18

To be practised in a similar way on all strings.

~~~E1 c t tJf II : 1,.-....r-;ci C o : :

.Remember tke necessary up-rz"gkt attz"tude of you; left kand andC0N'8Ctposition of tke arm and wrist. See illustration 1page 13. M.B.


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The Boy and the GirlAndantino Norwegian Folk Song

Count: 3 & 1 & 2 & 3 &V isem-nlzcelj.' r: Arranged by M.B.

0 It It 1 4 It,-...,..-._: ---./ . . . . _ _ .


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Every individual note ofa scale ziJOfequal impo1'tancel !l'herefore beareack notet'nmt:nd as youplay it and make sure of as perfect productz'on, L. A.!l'kt's rule kolds good only wken practisz'llg slowly, M,B.

Home, Sweet Home BISHOPArranged by M.B.

Moderato (JYt:thtender f~ling)r"I ~ 0~ J , j . ft . V ..1. . .~ Count: 4 "" 12 I -" _ _ . . . . . . . . . . . . _ . ..__;3 4 PII Il1 + . 1 ' ! 1 ' r" I _1._ 2 ~ 3U ,--Y - 4 ! ~ : : - . .. . , _ ; "J ~ 1 1

f J J , j . ft . I ~ ~. .~ - ~ 0 1 - - - - . . . . . . . . . . . . - I I I ~II ~. r" I II f r" I - -~ . . _ - - . . . ~ ~ . . ~


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Correct Principles for the Practise ofFINGER EXERCISES

1. Strong Finger- pressure2. Soft Bow- pressure3. Practise pz"ano4. Practise slowly5. Move the fingers only. The kand must r em ar n quiet.

ctise .Eer-e . 1) Separate Bowing. 2) Two notes in a bow. 3) Four notes in a bow.Count: 1 2 3 41)!:! - _ - _ - - - - - - - - - - -i.~~ ~ r---.. r---.. ~...----._ ~ .".--.._

13 6 IIg J J J J J J 1 I J 1J J J J J J : 1 1 _ a3) ~ 4~ ~ U

"* iJ0in I Jl j1n J 4 : 1 1 - I I_____ ~ ~ u. "sz"mz"le 4 4 "J J J 1 Q J J J I J J J J J J J H - I I :~ J J J J J J I J J J J J J J J ' I I - I I~ .s :z-: ~ " t: ' i " . _ _ _ _ . . . , : _ _ . . . . ; . . . _ _ _ ., . . . . _ _ _ ,. U

~~7~ ,,~~" ' - " ' "* 1 1 r c c r e f L f l f f : H r C [ : 1 1 . . R : c H e r r e r I c : E c r r e r = I I . . I4

~ ~ .....-...::",-. " . . - . . - - . . . ~ . , . . . - : : - - . . . . . . - - - - . . .f f E r r U C j f l r r e r r e r h " I I :E f r r r f e f le n : r t r e :1 . . I


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CROSSING THE STRINGand preparation for the Etude

SlowlyConut: 1 2 3 42 .... ... .. ... .. ... .. ... .. ... .. .. ... .. ... .. ... .. ...... .. ...... .. ... .. __... .._.... ... .. ... ._ ...__ . _4 ~ I! 3 . J J J I J r r J I J r r J I J r r J I' .. :1half step Two fingers on both strings simultaneously

h~epM Mf r r f I f r r flO :11: r f r I f r r r I

: 1~4 ," : 1 1

Observe the raIsmg and resetting of the third fmger

TENTH AND LAST ETU DEfor development of supple wrist movements.

se liberal bow length. M.B.Count: 1 2 3 J'. h If t 4, 4,

~~~ n 4 , .., 4 , .na s ep 1 ~ill J J J I. I J J J IJ J ; = l I J J J IJ J l j A IfFi!IT U J::.--' "-' ~::::_/

~ 4, 4 , 4 , 4,ltfl,w 1 m Iff lld l) IW Id l) 1 1 m I tEr 1 m I1._ __ .__ _ _._ _._ _ _ _ _ _ _J : t . 4 , ~ : : - - - , _ : : - - - , _ 4fi If r r I r r r I.p H Im Ir rE IillJ ' f F IF 7 ~ If t ~ ~ r Er Ie r r I.m IW 1001in Irif) I J 1 ' 1m 11 _........... 1 _................ 1 _~o~~~~ 4~ F r r If r r Ir F r Iru Im ItjjI J ~ J IfD I J . I1 ___


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maia bang - violin method part i elementary

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