sevcik shifting the position and preparatory scale studies op8 violin

8/7/2019 Sevcik Shifting the Position and Preparatory Scale Studies Op8 violin

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Sevcik:Shifting the Position and Preparatory Scale Studies, op. 8

PREFATORY NOTE

HE chief difficulty in these exercises consists in shifting (changing theposition) so smoothly that it is hardly perceptible. Shifting downward,from a higher to a lower position, offers peculiar difficulties. In order

to effect it smoothly, hold the violin firmly with the chin, and try to use thethumb as little as possible when shifting. Later these exercises are even to bepractised without using the thumb, which is then held under the neck of theinstrument.

It is highly beneficial to practise these exercises detach! at first, and thenegato in moderate tempo.

THE EDITOR

VORBEMERKUNG

IE Hauptschwierigkeit in diesen Ubungen besteht darin, die Verbin ..

dungen der Lagen so zu bewerkstelligen, dass dieselben kaum horbarsind. Besondere Schwierigkeiten bietet der Wechsel von den hoheren

nach den tieferen Lagen. Um diesen Wechsel glatt zu machen, halte man dieVioline mit dem Kinne fest und versuche, beim Lagenwechsel den Daumen..der linken Hand so wenig wie moglich zu benutzen. Sparer sollen diese Ubun-gen sagar ohne Hilfe des Daumens geiibt werden, wobei der Daumen unterdem Hals der Geige gehalten wird.

Es ist von grossem N utzen, wenn man diese Ubungen zuerst gestossen, dannin massigem Tempo gebunden ubt,

DER HERAUSGEBER

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When practising these exercises repeat in moderatetempo:(a) Each measure separately;(b) Each pair of successive measures together; for in-

stance t with 2) 2 with 3) 3 with 4, etc.;

(c) All groups of measures marked as to be played onthe same string;- in the 1st Exercise measures 1 to 6,7 to 12, 13 to 18, 19 to .25;

(d) The entire exercise in the keys given below, bothlegato and detache.u.s.w.* f'lr. ~ Ii ~ I tif BJnJJ~ Imn_] f1 nmJiJ01jJI fi "Jnn ~T. I ! J J 1 J J

~~ ~ i I

.11Jl l ) ) t " " J : g~ -of"nun ifF ~d t+ I ' J J1 iPfJ1! t "J t . l J it t , t t

1.Wechsel der Lagen: 1-.2, .2-3,3-4 u.s.w, I Changes of position: From Ist to 2d,

Saite 2d to 3d,3d to 4th, etc.ing IV - - - - - _ _ - _ _ _ _

@ti;FJiF IJp.nJjj11P_IJ~pJlJ)J I@PAiJ I~t~~~_~_

~

_ _ ~ _ T II_ _ ._ _ _ -_ ~ ~

J~pA UIJnJJQu IJJOP -4JIffl!h"J laYW31t~1.~1~

_ - -~II __ -~-~

~EEi i i rIt a d !aE f r1'&1a@ IE L d !sH i rI tc r C 1R d rI- - - - - ~- I - - ~-~~ifI~ IJrgrr'qI~!~ I

~ ~ ~ ~ ~~ ,. ~+ -e ~

Lagenwechseliibungen.Rei dem Einiiben dieser Beispiele wiederhole man in

gemiisstgtsm Tempo:a) jeden etnzelnen Takt,b) jeden Takt mit dem llachstfolgenden (i-~, ~-3, 8-4u.s .w)c) alle Takte, die auf derselben Saite angezeigt sind(im1!_DBelsplele Takte 1-6, 7-1.2,13-18,19-25),

d) das ganze Beispiel in rolgenden Tonarten, gebun-

en und gestossen:

Shifting (Changing the Position).

~"I"mpfW BJJ 1 J j

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4~'~'~'~'~1~~~~~

~ _.......~~ ,.e~- ,.,.r-"_ ~ . - - _~ - , . . . -,- ". -,=f-. .r

~ -.~ ~ ~~;-'f- t-r- ;: =:!-.~ - -f-t-;;..;

"'- : . . . rI . .. iT .

. .'I fII

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5.


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6/236


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~ . . .. . . ... . .~. _. . . ~ _.'.-;. !"": . . .. ". ...~_ _- - - - _~,.. . ~ f- ~ ~ !"'"III

,..1. . . . ,.

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io.Wechsel der Lagon. 1-4,2-5,3- 6 u.s.w, I Changes of position: From ist to 4th,

2d to 5th, 3d to 6th, etc.

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Wechsel der Lagen: 1-5,2-6,3-7 u.s.w. Changes of position: From 1st to 5th,2d to 6th,3d to 7th,etc.

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11


12/2312


13/2313


14/2314


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'1

15


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17/23

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Changes of position: From 1st to Sth,

48.

4e.,mJi$rr- J i S J1J fo iiM aIge r S t ~U J J ;~I jcs r ;eJ5 J ]li4V[} W MI .E tii la e s f r~l I iRff r t iLF b t

Imu Cf~ ltf!ffE ;bE t !

IU'U_II18


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52.

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55.

41Ij-!=T~ Ii1iLP iu ijli@ ilM I~ JJ~ ~"t t t

~

_ _- - - -

_ _t f5j;trrF efr. IO J ~isc re E rrUIP i t; e r tEL fU I4k 4, LE e rfin lierF; f iEferfrr rIfrr tr t fE i t r rnrIfk ; ; a q~ t r c rrrIfe rr;MkFfrItrIhrtfftfffffcrflt 1 3

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Tonleitern durch 3 Oktaven.C duro

1

1

57.I Scales Throughout 3 Octaves.

2

Man iibe die N~Q 57-59 in allen folgenden 'I'onarten, Practise N~ 57- 59 in all the following keys, both legatoebunden und g estossen: and detaclu!.

A moll (harmonisch).A minor (harmonic),

E moll.- E minor.

~*Bm; J fJ Jifl i ,'1('.H moll.- B minor.

, 1 Ijj"f i iF J1H:U" p 0 rtr.Fis ; ;O l l. -F~ minor.f ~1 5 ~ J J1 IJ JI:JJ o .rtr.Cis moll.- C~minor,

_ "y w iOD II l.t 4 dr.Gis moll. G~ minor.$ ! I ~B IfJ$J~1 ... \ til'.

I II 'l

lit'.

F nur.- F major.

f ~B J fJ 1 gD et)B duro - Bhmajor.

Wlk" J ~ J J J~ J~ 0 de.Es dur.- E~ major.

t Q 1d ' I ~ , j J J1 I" :; ~..... 0 etc.

A'i dur.- A~major.

6 ~B J ~jWr31~ e t C .

Des dur. D~ major.

fM u

J"1J JJ;1oJ- de.Ges dur.- G~ major.&g t~ rHJ *~qJiJt.. 1'/('.

22

D moll>- D minor.

f ~1 5J ~ l-J j'7 J ]or # 0 etc.G moll.- G minor.

P" J tJJ Hillo -re.C moll.- C minor._ IIJ aJg J g ,)F moll.- F minor.

f W i!n J 10J J ~J3 Iell'.B moll.- B~ minor.

~P l l 4 ruJJHl 1t ell'.Es moll.- E~ minor.tW: t \ b "J ") JJ jJ IoJ & 0 etc.


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sevcik shifting the position and preparatory scale studies op8 violin

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