Scale-Studies. J. Htimaly. © Major. Long drawn out, with full tone, and change the bow without a break. Moderato. nf a4 A Minor. As above. Moderato. nf F Major. The piano must be soft but clear. Largo. P D Minor. An even forte throughout, The tone strong, but not pressed. Largo. $7086 ‘Printed im the U. 8.A.4 Bb Major. Have no break between the forte and piano. Adagio. = a P 3 f v feo a es ° f ¥ Ft P f = SSS SSS @ Minor. As above. Adagio. ===: : = Ss = f P f P Eb Major. Give the up-bow as much accent as the down-bow. Andante. — > = = = = = = —= ee SS == $ nf> -— = > es 5 > = > > — == eS eee r Toes © Minor. As above. Andante, > OF fe > > > >, > = a i Fi s7090 > SSAb Major. (Count two) ‘The quarter-note light and short, almost like an eighth. Alla breve. F Minor. As above. Alla. breve. o> Db Major. The quarter-note almost like an eighth, Alla breve. ee: Bh Minor. As above. Alla breve. Gb Major. Broad and even tone. Andante. tMinor. As soft as possible, holding the bow very lightly. Andante. a PP F¥ Major. The quarter-note short, the accent strong. Allegro_moderato, D# Minor. As above. Allegro moderato a S afi 7086Gt Minor. Play the eighth-note the same as the quarter in the preceding exercise. Allegretto. fh SF ST SS > E Major. Allegro agitato. Pp poco a poco crese. ff poco a poco dimin. p C} Minor. Allegro agitato. p poco a poco crese. ff poco a poco dimin. =p A Major. Sostenuto. Minor. Pea kudacte medersict D Major. | Tempo giusto. si Pp” B Minor. >: Comodo. >. te “> wees pte GM: 7 riMfoderato. Set fed ng $F NSE? E Minor. —> «=~ frase f°First practise these scales egato, and then play them with the bowing given below. The correct stopping of the Sixth and Seventh is prepared by the short finger-exercise preceding each minor scale. © major. A minor. Ab major. F minor. Gb major. Eb minor. ZA = $7088major. E minor. gee Nee Major and Minor Scales Within the First Position. ‘The previous remarks are a sufficient guide for practice. a4 1763NO1. Major Scales Beginning with the First Finger. Scales without changing position. Ist Position. ° gore nd Pos. 8rd Pos. ne Ath Pos. avat IN a7} Zo onpht Phra ; NWA. 17636Ne 2. Minor Seales Beginning with the First Finger The accents well marked. The first four bowings with the upper half of the bow. Ist Pos. a > > ge Sep = = 2nd Pos. > > 708814 At the point and very short and dry. The first note sharp and short. 8rd Pos. con om With a brisker style of bowing. So 4th Pos. => rr) See > = Point softly “bow how Accents well marked. Lively style. 6th Pos. set Phen, ee Middle Point _ ‘The detached notes energetically 7th Pos. zat srea8 ieNO 3. 1B Major Scales Beginning with the Second Finger. Ist Pos, of of Brd Pos.1s NO 4. Minor Scales Beginning with the Second Finger. Softly, near the finger-board. | — Détaché In the middle of the bow, rather briskly. Springing bow. ~ Very light staccato. "In themidate colette fees 5 pee e FP uo, THe shythm most be well marked and all the notes short,7 Use nearly the whole bow, and sustain each note. ay PSS > —— Bth Pos. Grand Détach’ >>. > Seon Dela >>z, # —— ‘Very slowly f> More bow as the crescendo increases. Bth Pos. yfiadlo of the bow. Th Pos. The staccato notes short. Point > Lively and well accented. 7th Pos. ~ —sretele tfeps —— Point > NO 5. Major Scales Commencing, with the Third Finger; and the Study of the Staccato. Ist Position. Log Pad Sec. 2nd Pos.cm 5th Pox pat ea pan Gth Pos Saat Sie es ai Tth Pos.Seales and broken thirds on one string for practice in changing positions. ) ‘The left hand must be held quite at ease, with the thumb very flexible. Execute each change of position pe ithiprecigion,) Alternation between the Ist, 3d and 5th Po: NOL NO2. ions. Alternation between the 2d, 4th and 6th Positions. NOL. NO 2. s7038smaat NO 7. Major and Minor Scales and Arpeggios in Two Octaves, Changing Positions.” 22 FFTs practi tach of these scales “egetn; then the bowings marked below, and shading, should be practived.Re aGtachs 7638Sautillé . (Springing bow) Sautillé saat She, ; > ( 1038a4 | ae reer cree ee| pp -—_—[_,/§/§-§»-/- ————26a7 NO 8. Further Changing of Positions in Exercises on One String. Connection of the Ist with 8rd, 5th and 7th positions. Note: Begin these exercises in slow tempo and gradually increase to i/arra rirece. Impure intonation and unevenness should be the best hint to teacher and pupil to return to a slower pace. s7Aa628Connection of the 3rd, 5th, 7th and ‘Mh positions, Also on the D, A and E-strings, in G, D and A major. ee 2 1763680 NO 9. Changing Fingers on One Tone.”) ‘These exercises, like those preceding,are to be played on all the strings. Peasy NS att Sa —— : castes wi eee We 2s. : > Seales through two octaves on one string. 2 aa ————= =f " aj J wel TS tt eeeg The same fingering. *)Note: Do not negiedtthis seemingly unimportant exercise, the peculiar usefulness of which consists in changing fingers81 eee ne ee : : : : - ‘The same fingerin, After learning the foregoing, the following 3-octave scales will hardly offer the pupil any difficulties, but he should not neglect some good advice with regard to them. Usually it is the third octave(.e, the highest) which pre- sents difficulties, In order to save time, and enable his undivided attention to be given to the intonation, the pupil should practise the third octave by itself as directed below. The minor scales in particular, with their raised 6th and 7th in ascending and lowered 6th and 7th in descending, are those which give pupils trouble; and to their in- tonation special attention should be paid by the teacher. ‘The fingerings are, of course, the same as those employed in the full 8-octave scales. Cusnttt ftentryN? 10. - The scales through three octaves are to be played in every tempo from Andante to Vivace, and with every kind of bowing. The bowings are to be copied from Nos.2,4 and 6. s7680$7630 wi wot 2 Tee