& Mord of Introduction HE prownt colume of sclocted violin studies ix intended as a practical compinion to very violinist who might he in search of a collection of the very best standard exercising material, or who in the event of traveling finds it impossible to carry @ complete library of all hix necowary studies. The exercises have been selectad with special care in order to cover every powible branch, and all important writers for the violin, from the ourliest chusies (Corelli and Bach) to Kreutzer, Rode, Spohr and mera writers such ax Mazas, Dont, Schradivek and Noveil ure included, with representative exercising material Considering the extended field tbe covered, the great uumber of exer- ives included, and with a handy size of the volume in mind, it was found necessary to present many of the studiea in abridged form. In doing thix special attention has been paid to prosent the prinefpal parts of each atudy, aud particularly those which would illustrate the purpowe of the composer to the best advantage. In this way the entire instructive literature of the violin hax been covered in such complete fashion as to present a veritable daily reminder of everything necessary to keep a violinist’ technique of the left and his doxterity of the right hand in perfect trim. Tt is for such pructical pur poses that this volume of selected studies has been compiled and pub- ished, and may it prove of genuine assistance to all violinists. GUSTAV SAENGER. NEw Youk. October 1009,CONTENTS: ‘Studies in all the ae Minor Keys. || Special Exercises for the Changing of Position: Beavonters ore 3201 = disor. ‘Technical Exercises for Strengthenlog the Fingers. . Kremer fom Jain the How 2 Boe |e SS Bromo Twin s nines | S Eieahiea Peathe x i Exercises for Arpeggio Bowing. x reutret Campero x Senna ees Wott Exercises for Grace Notes. ae " Bence or the Ture -Biogitle i" Apponsiatira. : ‘Rode Exercises for Double Stops ‘Staccato Exercises. rat Postion. Eevee Thirds Se Row ite ne ne (oF “rctnatie Pusan Spel Spee ge Sith H Beventn x Bhegslic iso Na: “ ie Pagamint el * S Blaaicato with both. “ Thandie raven Reriot 5 tn Melody tn, Sus aia Hinder exer sane es pure “cacortsThe Violinist’s Daily Companion. One Hundred and Twenty-Five Exercises, Studies and Extracts for the Violin. Selected and compiled by GUSTAV SAENGER. wt Studies in all the Major and Minor Keys. KREUTZER. Allegro moderato. In €. (from the Famous 42 Studies.) wed.: In A minor. eroum 12258-408 4 CAMPAGNOLI. Allegro agitato. In B minor. ye ” In D. Development of the Bow. F. MAZAS, 0p.86,Book I. , Allegro moderato. Soap eer top sone SEM sap ve ster apr ae eee SE fe ; : 4 “ft4 In D. BEETHOVEN. (from the Violin Concerto, Op. 61.) Allegro ma non troppo. 947 4 , Double.* JOH. SEBASTIAN BACH. Vivace. (rom the Second Sonata for One Violin.) vow 9 4 “os 4 20 of ¢ SSeaRs et eS ar: *“Double” is the second movement of the Second Sonata in B minor. 2253-40Sf eA ES orese. ~ 5 : In A. DE BERIO}. Moderatograzioso. 3. (from the 6th Air Varie.) Ses ke £46 af ss NOB. oes — ize Jot = ey, OL —— tN a 1 sp Vee —8 .., mA. . Facility of the Wrist. F MAZAS, Op. 86, Book L To be executed at the Tip, and usi: little Bow. Allegretto. ip ing very 4 aoe # se ssresss so 7 a sl fe Fon F# mi ALARD. in F# minor. (From the Complete Conservatory Allegro assal. study for the Crossing of the Fingers. Method for the Violin.) + (ie eed 1.) The Finger preceding that which is to be crossed over must never be raised; on the contrary,it to that which Iready placed. LT oper oes this note.+ InE. iO From 1 MAYSEDER’S Variations. Se oe ma re Se 3 ie rate, 1 . he * Ste 2 et Leek At fe hw, ‘ca gs LCs * Iftoo difficult the 88 may be dispensed with in this passage. Romance. In E. Andante grazioso. F. MAZAS, Op.86, Book I. NO12, mp a eopressivo 4 izC. SCHALL. a = From a Concertino by LINDPAINTNER. 12883- 409 <—_ SPOHR. NO 15, aa SS ‘This study is marked in Spohr’s School to be played entirelyin the 8£4 Position. Moderato. In Of. a 410 Allegro moderato. Ink. J. DONT, Op.87. tr a In D minor. J. DONT, Op.87. ~ e— fe ZS NO 18, I ;. dimin.eritard. , 34 . / P Note: Half-bow for the slurred notes in slow or moderate tempo, diminish the length when played quickly. In D minor. DE BERIOT. 1% Air Varte.) Allegretto. y &z : Allegretto. In Bb. FIORILLO. o oe (rom the 86 Btudes or Caprioes.) 72 (Bt > mae e W220. ee cm fers: ies B leggiero I oll? ty ;$———_ ent 8 .————— <<. i_—_—_ v= EEE PREF ep a => SS 2 =, Ss y Fn is ¥ <= ¥T = ae ee - a a, ¥ 5 v ot soe He 4, fa aA eae ie c=ecs at x er Fes % ee SPA ASF Re A HEF KS ean) a "Wan 7 2258-40In G minor. Ld CAMPAGNOLI. Allegro giusto. NO 21. Allegro moderato. © In Eb. ha (From the famous 48 Studies) fe NO 22. gies i SS Pe GS ym eee errr“ Moderato. (J-ss) | In © minor. H. SCHLOMING. ———— 12253-40‘This study is marked in Spohr’s School to be played entirely in the 244 Position. Allegretto. In F minor. 7 H. E. KAYSER, Op. 20, Book II. . veoon ee ~\ No 25. Prieto > pore GAR ao loreeie Oe Pe aS crese.16 Vivace agsal. uw No 26, t* 4B =P > In Db. RODE. martlé (from the 24 Caprices.) ° r HB.17 ee —— a dim. D8. al Fine.18 In Eb minor. J. BENDA. Moderato. Allegretto, ees 12253 -4019 ae ea Phers a ae In Ab minor. Technical Exercises for strengthening the Fingers. perorzer. ¥ Allegro moderato. (from the Famous 42 Studies.) No 32. = tOp.20, Book II. HE. KAYSER, Allegro assai. 12253-40= CAMPAGNOLI. orese. > > > > a 3 > > = = Face leeies ee ed ieee > =Exercises for the Trill. SPOHR. Andante. r. r ri? 2% t~ & ot NO3B. =F E P creas. fe dim 2P ioiils, 7 ee hg ee Moderato. BAILLOT. r re... nea7, ges =a 12258 -4028 KREUTZER. Allegro non troppo. (Motto moderato.) eee Cin) r 2 ir z tr 2 r No 38. > > > r tf Bm 2 r r 2a4 Allegretto. (42112) At the Point of bow. r : + HARRY ert on GE Teper. #F Exercise for the Turn, FIORILLO. (from the 36 Etudes or Caprices.) Ta. wf f 12253-4025 === mt eS or 7 co Rats Exercise for the Appoggiatura. . Rondo from RODE’S Allegretto moderato con spirito. Gan aieaee aticeerhecoe a: Se the SR near fb SESE eS See tees ices = 4 deatkh abiettet abtel atcpeieteres! eceeoegh ek tiesPlgt oF ist ti clect eestiEJ Exercises for the Staccato, | 0 REUTTER. the Famous 42 Studies.) Allegro. pect as Grants From DE BERIOT’S ‘7th air Varie. wean fila 5 a News Nesee ae==22 pous. 12253-40FIORILLO. (from the 86 Etudes or Caprices.)Moderato. vitae From DE BERIOT’S 8™Air Varie. Moderato. 1 » ¥. sae £ —. No 46, t 12253- 40risokuto ——— ae! 0 sé Ta e2 a> SD ED + \Sno oN Z Ea. éean; =F P du talon50 Exercises in the Seven Positions. First Position. LOUIS SCHUBERT. Allegro non troppo. (from Violin School, Op. 50, Vol. II.) Tip. wees teas dott 12258 - 40 StExercise in the 224 Position. RODE. 84 Comodo. (d= 126) (from the 24 Caprices.) 2 r No49. WED tegato —— ema v. f z fa Sa - == Cocestete Peace, See eee eee Seon forsa2 Exercise in the 8% Position. Alleeroll=s$ 1 a g4h288 Zp SPOHR. _< S = middle, 1.8. 3 y eet eee middle. y n Exercise in the 4th Position. Cornet Allegro assai. 7. 238 1 Pitas (Ptaratt sPtas., vos, i reperiee coe a eee 12253-40Exercises in the 5th Position.B4 Exercise in the 6th Position. Scherzando. nA, Aa CAMPAGNOLI. atdet, . ee eee ne 4 ° Exercise in the ‘7th Position. +B es 2 1 Allegro. ts S athstr, 12253-407 85 Special Exercises for the Changing of Positions. Cor iad F. MAZAS. Op.86, Book L Aces =o? 9 dolce. In changing the positions avoid pressing the wrist egal eae 2 - a RN 7 z 4. 8 2 x f= ptceieceniteres ae z oS Exercises in the First and Second. Positions. 1H. SCHRADIECK. ee Technical Violin School, Part. . seit re, Ere0, Part I. H.SCHRADIECK. Positions. echnical Violin Soko Exercises in the First, Second and Thi 129289-40Exercises in the First, Second, Third and Fourth Positions. <—Seneete.i. woo pie 1 est pester teeltey ssitresth se pi AGpttotenttete afte “th ~ ieeeterben lee . : exisExercises through Five Positions. L Part. H. SCHRADIECK. Technical Violtn School uz H.SCHRADIECK. Exercises through Six Positions. Technical Violin School, Part I. Lowy 12288-40— ctepanannpetetet a Zi skttter 25H o ¥ Exercises through all the Positions. ‘ H.SCHRADIECK. Technical Violin School, Part I. ee 4-- w40 Exercises for Change of Positions. (1-2, 2-3, 3-4 ete.) 0. SEVGIK. Exercises for Change of Positions. (1-3, 2-4, 3-5 etc.)Exercises for Change of Positions. ° a (1-4, 2-6, 8-6.) 0. SEVCIK. tae te Peete te (Lethe. Exercises for Change of Positions. (1-6, 2-6, 3-7.) te-\ i [tt Tt ie Te\ TITeaz Exercises for Change of Positions. v (1-6, 2-7, 3-8.) 4 0. SEVGIK. a aA 7 \__f% Ke t eo OE eT ee i t 7 t . . eo ES OES st 4 3 FA 4 2 1 “1 A i 1 4 1 1 1 4 Exercises for Change of Positions. = (1-7, 2-8, 3-9.) 0.SEVEIK. Exercises for Change of Positions. (1-8, 2-9, 3-10.) o.gevalK. Iv- 7 o S 2 eaExercises for the different Styles of Bowing. First time, down-bow n. Second time, up-bow V. A.C, ASORTI. Allegro, : (from The Techuic of the Bow.) No 69. 4, 2 2. A, brat tae ea tat feet tate tet Bete faces eats He lweree : An a =— =: FP aS SeAllegro assai. fp Ce ef Allegro vivace. Moderato. 12258-40tid re. P.ROVELLI. Allegretto. Q70y No 78. af a =—vyfo——— 2 18, apoyo Og aN = se va Se 4 wf, Ve SEA Uist! 1 9, 2 rr 20 C8'D 20. 4.0310 8 Bad —— =— see LAR oe eee ey 20 SS == f= i> 32i> 3 a4 RN a 80, —beN — 430 wt = — a 490, Pan — 430, be — gob Cote Ee, 3 2, —— —F ——_ sf 477 ol . .SSO —— ee46 BAILLOT. No 74, Allegretto. CAMPAGNOLI. a> atte 12258-A0we 78, tee ete KREUTZER. Crom the Famous 42 Studies.) FOG Fafa pepe ey ay ee = a 4 Soetieet fe 55 é Se 2 ay re eel ‘etal os 12253- 40Allegro moderato. AD.GRUNWALD. Eee ae >Allegro moderato. H.E.KAYSER. Op.20, Book I. we Allegro energico.” HLE. KAYSER; Op.20, Book Set FS SS HUBERT RIES. Allegretto. rom the Violin School, Part I.) No 82. t 1258-40HUBERT RIES. Allegretto. Grom the Violin School, Part II) Allegro con spirito. . CAMPAGNOLI, No 84. ==: cowie ee paves Lae rs ves 5Allegro ma non troppo. --~ ANTOINE BOHRER. SRR RR = fen] At ast wm, Genres E® 1253-4058 Allegro ma non tanto. H.E. KAYSER. Op.20,B00k I.oa Allegro moderato. 5 F.MAZAS, Op.86, Book I. AP EP fP fer fer AP <2) GAG RAE RRS F ® The first note in a very decided and accented manner. Allegro, Ne Qt. 1258-40VO Fos Exercise for jumping the Strings without lifting the Bow. fartelé-strokes with upper half of Bow. Allegro non troppo. F.MAZAS. Op.86,Book I. > No 82, SSSExercise for the old style of bowing; keeping the bow on the strings for each note. Allegro. CORELLI. Per cr aa apcle==Mnnolens! — == ieee apes j Berg ee <= 7 Exercise for the modern style of bowing each note, allowing the bow to leave the strings at every aa resto. woad. 7 or eps peSre: DE BERIOT.87 ising the Bow. Exercise for Rai: Allegro moderato. Nut. Book I. F.MAZAS. Op.86,Exercise for Tremolo Bowing. With Bow kept on Strings — Not with Springing Bow.) Allegro vivo. F.MAZAS. Op.86, Book III. © orese. NO 96. i - Eire = F 12253-4060 Exercises for Arpeggios. CAMPAGNOLI. Allegro. egr’ = 12258-40Moderato. ‘WOLFF.Allegro.(d = 182) H.SCHLOMING. No 101. 2 12258-40es Allegro con brio. DE BERIOT. FIORILLO. Exercises for double notes. srom 26 Btudes or Caprices, = = NO 103. = 8oA > z At the Nut of the Bow. FL MAZAS. Op.86,BookL 4 The Bow to be raised after every note. Aligero moderato. a : 12258-4065 D.0.8.R.al Fine.Adagio, | ________________CAMPAGNOLI- seep Te 12253-40\KREUTZER. Grom the famous 42 Studies.) + + 1a & 2nd fingers to be raised. Glide from F with 2nd finger to ¢ with 4D finger.. > > a é cel >HSenis aoe —> 1 (2253-40. 69 Exercises for Chords. H.W. ERNST. Allegro moderato. N from the Othello Fantasta. < no PR Van vv —= SF Allegretto vivo. J. DONT. Op.87. No 109. poco riten. segue. nono aa10 a eae ‘+ ocoriten. 8's tempo ? t poco riten. dimin. . ney n on == \s P . = D. Oat Fine. Exercise for Syacopations. Moderato. . — t 7 BERIOT. WO110. fie 4 oe Papas ap > t ‘ Co See = Exercise for Chromatic Passages. SPOBR. agit 2y2 NOTI1. ee 8's P sMganit 11°2 9 1 7 aah" ea airy 12253-40um ayt eiet #: ops ea et ——j ‘orese.7 Exercise on the 4th String. DE BERIOT. (from the 20d4ir Varié.) Allegro vivace. NO 112. $ = Ss Fer ey $ ae 7 z Exercise on the 8° String. SCHALL. Adagio. NO 113. 12253-40g ———s mee Neer Exercise on the 2d String. BOHRER. Allegro. 3 7 z NO114, nf aT42agiz4 : : : Exercise on the First String. CAMPAGNOLI. Allegro eee aS —~— | NO 116. tt i ttre) ite [ee ite 1% 1%, Exercises for Octaves. Vivace. a KREUTZER. a4 NO116. f 12258-4015 Allegro. HLE.KAYSER. 0p.20, Book III. arieathst.. - - - - amdeanigtr . - No 117, t wt aidaeabS- - ek and & 3rd Str, rd m - -, od and ets - e - oe es ada ath Str. - ond & ord Str sed & ath Str - sand & ed str. 2. 0 - + + Biman st °8 pop (4 abstr 2 ke16 Exercise for Tenths. Allegro moderato. t 4 3 os DE BERIOT. Nett8. tf Spoeeooerittereee lta ee eee eset sere £ e ereee Fi # ecéte ba el a bee 1 pp etteettonttet z ¥ 2? : featttectfecttet Fa” a f 5 ‘ $ ese ed 5 tr tr r z F - 7 > rs = Exercise for Natural Harmonics. To be played in the 8rd. Position. Touching the strings very lightly with the fingers. Andan MOZART. #*)x: pizzicato with left H. notte. ee Fine. 12253-40© 00906 OR WRBS7k98 PESE9298 . WESOW A 2 0009 200 D.C. Exercise for Artificial Harmonics. ‘The first finger to be pressed down on the strings, and the fourth very lightly. Allegretto. CARNAVAL DE oe Exercise introducing Harmonics and Chords. asi ees ake18 Exercise for the Pizzicato with the fingers of the Right Hand. Allegretto. MOZART. Wo 122. : mf pint. recess Exercise for the Pizzicato with the fingers of the Left Hand. ‘The notes with the crossoo are to be played by the bow, those with (0) to be played Pizzicato. Vivgee. PAGANINI. x #20, x, #2 No128, 12253- 40Exercises for the Pizzicato with both Hands. “i The notes marked o to be played Pizzicato with the left hand, those marked pizz.with the right. DE BERIOT. NO 124, A pizz. pizz.., pizz..%, Pits. ato Pi22- aito oO 7 : ° 22. pig ® pizzs x Tire ErcoP Bico OO8 ° pizz. pizz._pizz. pizz._pizz. pizz. pizz. ia Pg le arco RBcc00x xo 8 WF Melody in Sustained Tones and inger xercises for the same OSE. ee Pest CASORTI. on "tke A-String, duration 4 minute. (from the Teoknic of the Bow.)80 Adagio. G String. = * Say cdtgoeeqeecdooedsecdsergsere: pete te retreat 12258-40