©Diiise Bytovetzski Double Stopping Reminder 1) The bow must grasp the two strings simulfaneously on beginning each stroke in or- der that the two tones may be heard from the very start. Reminder 2) Each of the two tones produced in a double stop, or, in a seriesof double stops, must be clear and even throughout the length of its duration;- double tones should resemble single sounds produced on two instruments at the same time. Reminder 3) The change of stroke and the passing of the bow to neighboring strings must be ac- complished with extreme delicacy and smoothness, the player should guard against any exag- Serated movement of the hand and arm as this would in either case producé an unintended ac- cent. Exercises for Drawing the Bow Across the Open Strings Slowly WB.Pavel Bytovetski — Double Stopping for Violin Exercises for Crossing Smoothly to Neighboring Strings Mia ae - Mid Reminder 4) Clear tones in double stopping, so far as the fingers are concerned, can be ob- tained only by placing the “higher” finger (numerically higher) on the string in such an atti- tude as not to interfere with the string upon which the“lower"finger is placed, e.g. the higher finger must lean as much as possible towards the string not in use. The same rule applies to double-notes one of which is represented by an open string, the latter taking the place of the lower finger. The following examples will further illustrate the directions just given. The star‘) will indl- cate the note stopped by the higher of the two fingers. 3 2 al 1 ae 7 a 1 “7 Exercises in which one of the two notes is represented by a Lower Open String i 33°33 ag °3y ithe. Pe ou This mark +, wherever it appears in this book, will indicate that the part or the line is also to be practiced on the oth. er strings. CDi 2fil JT) fe £2) fi J Se SB “2 ie) In 1 DID IMI Th —m"~ 7 To 3 Exercises in which one of the two notes is represented by a Higher Open String + = fey err ee ter er or eer tr + ne J ke ~ + ses 2 a es : Bs . paaeaeeeeete ~ * eT —* * OP REE (any Pee = simile ne — SS era =Pavel Bytovetski — Double Stopping for Violin Mental Exercises for Recognizing Perfect and Augmented Fourths Exercises in Fourths and Sixths Combined + CDi uPavel Bytovelski — Double Stopping for Violin Shifting Reminder 9) The rules for shifting in double-stopping are the same as those which are applied to shifting in sinigle-stopping. It is therefore unnecessary to include here rules for that part of the subject which is alike in both and with which the player should be thoroughly familiar before undertaking shifting in double-stops. If however the student has nothad a thorough drilling in single-stop shifting, he should not begin here. Instead he should lay this book aside for a time and take up the problem of shifting as prescribed in the book of “Scale Technic’\in single stopping, see foot note)* The subject is generously treated there. The problem involved in double-stop shift- ing that is new to the player is: Unequal Shifting of Two Fingers Reminder 10) The problem of unequal shifting, that is, where two fingers stopping a double-note have to shift unequal distances in order to reach two other notes, as would be the case in the fol- aah e lowing examples, for instance: pachne hats is this, the two fingers having started to shift simud¢aneously must move unequal distances and reach their respective places at the same instant. This problem is a barrier in the path of progress to most pupils, simply because they do not know just how to avoid it. The following explanation, and the exercises, if carefully observed and practised will enable the student to make short work of this universally recognized diffi- culty. The student has by this time learned to recognize at a glance whether an interval is major or minor and at the same Instant to recognize whether the finger-separation islarge or small. There will now only remain for him to learn the mechanical action of the fingers that will correspond to the finger-placings which he sees in his mind. In other words, in playing the following Fe] the pupil should recognize at a glance 4) that the major third is followed by a minor third; 2) that the finger-separation is small in the major third and large in the minor; 3) thatthe third finger makes a shift of two tones and the first finger of a tone and ahalf. Thus the player will clearly un- derstand that in passing from the first double-note to the second double-note the finger-separa- tion is a/fered and the only question that will remain will be just when to make this alteration. The change in the finger-placing is made immediately after the shift has been started,BUT FOR PRAC- TICE AND IN ORDER TO DRAW THE PUPILS ATTENTION TO EXACTLY WHAT HAPPENS (T0 THE PRECISE ALTERATION) IT IS ZMPORTANT THAT THE ALTERATION SHOULD BE MADE BEFORE STARTING THE SHIFT, THUS EQUALIZING THE SHIFTING DISTANCE BETWEEN THE TWO FINGERS. The exercises which follow will illustrate this further. te # Scale Technic. How Acquired, Developed and Mastered ~ by Pavel L. Bytoveteski. Published by Cari Fischer, New York. CDR 12Pavel Bytovetski — Double Stopping for Violin Preparatory Exercises for Unequal Shifting on Double Notes The grace notes are used here to equalize the shifting distance of both fingers in passing from one position to another. a 4 4 3 3 After the above exercises have been thoroughly practised as written, the grace notes should be made but not sounded and later they should be omitted altogether. CDi 3Pavel Bytovetski — Double Stopping for Violin Exercises for Shifting Unequal Distances Thirds and SixthsPavel Bytovetski — Double Stopping for Violin 2 38 8 4% 4 95.8 _3 play also onenote tothe stroke “? a 3a 9Pavel Bytovetski — Double Stopping for Violin Exercises for Crossing to Neighboring Strings 4 st a (ete oN 4 tLe ie, Exercises in Thirds in the First and Third Positions ae a ate Cosine La aT z 3 3 os 2 ee t Exercises in the First, Second, Third and Fourth Positions — 23> 5s 9 8s45 84s Fae tg aad a gas 22 Z2ayF2 2eegets aesatzda a3 —z ae Se z Teapot a Sattns tr geh453 NS fa 8 See Pers cee s Tes ages s 2 2 38 tisastass ae e8 S228 FERS 2B tags 4a 34 43534 tas 8 aeGssts ste a 23322 Ze4 oe CDi IgPavel Bytovelski — Double Stopping for Violin Exercises in Thirds and Sixths Combined A 4 1 ° : —_tn~ oer at 2 2 4 a NE ete ties Chromatic Movements Reminder 11) One half tone shifts of the fingers must be made in a decided manner,so as not to have the effect of a glide. stint CDi 9Pavel Bytovetski — Double Stopping for Violin Octaves Reminder 12. In playing successive octaves,whether the distance of the shift is half-tone ora whole tone, it must be made with the whole hand. Reminder 12. While the first and fourth fingers are employed (in octave playing) the second and third fingers must remain on the same string as the fourth. Exercises in Octaves 4tripeeyr tort eS Se pid ee be 2s cierectr ccerectr ticrertr cierecer rer recreerr® aaaaaa ni —— J |_| m= * —_=-—_ CDi 21 — EPavel Bytovetski — Double Stopping for Violin 4Pavel Bytovetski — Double Stopping for Violin A CDzz: 2Pavel Bytovelski — Double Stopping for Violin a a 3Pavel Bytovetski — Double Stopping for Violin Chromatics in Octaves Observe carefully Reminder 42 5Pavel Bytovetski — Double Stopping for Violin aapictethretelestete Celete Sete Cie etic t Pelee e = a SERMERE SienEte epapetee cpeerepe ASS SS FEES ——————_sAitcin bp ebete £0),Pavel Bytovetski — Double Stopping for Violin Chromatics in Sixths baie uz rie ies bees hepa hie sp “ett is a soe 2 eee ste ——— Te SS Se isiirsige = CDi 27Pavel Bytovetski — Double Stopping for Violin The Twenty Four Scales and Arpeggios in Thirds from the first to the fifth positionsPavel Bytovetski — Double Stopping for Violin Diz. »Pavel Bytovelski — Double Stopping for Violin ov fi CDi 30Pavel Bylovetski — Double Stopping for Violin The Twenty Four Scales and Arpeggios in Sixths —— ie # z 2 feaPavel Bytovelski — Double Stopping for ViolinPavel Bytovetski — Double Stopping for Violin The Twenty Four Scales and Arpeggios in Octaves gg = a fF inte afoN eS ap coop pictet Etitless visited. 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