Professional Documents
Culture Documents
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SIEGFRIED EBERHARDT
MT
271
E23
1911
C.l
MUSI
1.50
Carl Fischer
INC.
184-
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EBERHARDT
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I.
^T
is
only
in
It is
culties
may
was
be found
many
the
in
diffi-
The
the holding
violin,
'cello.
In
fact,
method of a master.
In playing the violin, the problems of technic are
by the
fact
number of
It is
that
which
made more
different function.
complicated
Naturally, a large
left
hand.
left
In the following,
wish
to call attention to
a point
with a purely technical problem, and not with the interpretive side of playing,
nor with the declamation of an art work. "We will discuss here only those
functions and conditions
medium
which enable us
what we
express
to
feel
through the
ofbeautiftil tone.
It is
time that
we
finally
music, and what, in contrast thereto, belongs alone to the technic of playing.
First of
V^ery
many
all,
from
my
violinists, pupils
NI084
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how
or can imagine
it
technical equipment
sufficient
What
to play
demand
for
is
The playing
sentially
one
of quality.
point, in point
greater technical
who
amateurs
ly
facility lo
It
is
not, as
which the
in
of his playing
is
On
with unassuming
little
It
is
There are
due.
They
apparent-
Were
diffi-
a mat-
it
an audience
make a deep
to believe, the
evening and
finish
nothing.
in reality,
It differs es-
do everything, but
culties
who
times.
all
able,
is
a whole
for
bk.
lay-
climax
when
Could the
artist
its
with a prodigious technic interpret simple pieces perfectly, then all players who
perform technically difficult tasks should be able to charm with simple means.
This, however,
not
is
the case.
would here again emphasize the point which many accept as a matfinish
ter of course, and of which so few seem to realize the full significance:
in playing does not necessarily come from agility of fingers acquired by techniI
cal study.
technical work.
beginners
certain
whom we
amount of
finish
are accustomed to
is
is
develops.
This
violinist
to the li-nit of
endurance at his
of successful result.
The gen-
a great mistake!
is
that the tonal finish of their playing will improve as their technic
eral belief
sion, of
is
is
He
Of him
it
studies, but
might
and
Nevertheless, he
is
in
inelegant
expres-
exerts
himself
conceptions,
justly be said:-
studies faithfully,
apparent.
false
who
use an
to
many
"Jubilant unto
Heaven
whom
own
of
in point
certain something
is
own work
his
lacking
in
crude and
search
it
is
last,
him
and
effort,
one day he
his tone
is
there.
He
and
he has found
feels that
Each passage
can do everything.
without
and
there, calls
At
of.
that a
trifling thing,
in
feels
inspiration, soul,
He
lifeless.
so
uncommon
possessed of
come when
his
brilliancy.
efforts are to
arduous
It is
it.
It
seems
to
be crowned with
Most
begin anew.
people, following
improvement
rarely, if ever, to
his
in
all this
mood
false train
of thought,
now
say to them-
certain
is
manner.
playing!
Mood,
The
be depended upon.
will
this
indeed!
erratic reasoning
is
continued in
hope
mood
facility.
realized.
must often struggle against indisthe mercy of what they call indisposition.
Their
in
many
respects masterly
at
command
of the fingerboard
own
ability.
Although
their
They
lose
is
at times
de-
confidence in their
only in comparatively few cases do they ever reach that degree of absolute
finish
to all
manner of expedients
in trying to
fi-ee
really great
virtuoso.
They
turn
Thus, recently many have tried massage, and not without beneficial results
the reason for this I will mention later but whatever they do, they still fail to
reach that degree of perfection which characterizes the real virtuoso. Even he
may suffer at times ft-om indisposition, but he is usually in form. Rarely indeed
The exception but proves the rule. The concertizing
is he really indisposed.
virtuoso, who performs here today, and tomorrow elsewhere, cannot afford to
ba often indisposed, thereby imperilling his reputation, perhaps to the extent of
njining his whole career. Is this state of "perpetual preparedness" a sign of
Allow
at first
N1084
me
here to
call
phenomenon which
glance seems possible of being explained by the fact that different pupils
\vell
may
Talented pupils
group
today
varies;
is
it
The
good, but
playing of one
at
As regards
to others
who
is
it
left
How is
beyond them.
listener
this to
Is
it
Whatever they
facility.
when
be explained
W^hat
is it
here that
tech-
is
satisfies,
charms
of artistic
finish.
Violin School
his technic
his playing,
of artistic
even before
his listeners,
As a
thoroughly ripened
is
child
;
that
is
which help
finish.
artist.
of tone of vio-
different character
the
and continuing, says: "but aside from this pliant, peculiar sound of the
instrument, there is still another tone which the individual emotion of the musician begets. This tone is so characteristic that the same violin, played upon by
lins,
different musicians,
two
the
theme
is
ended,
listener
itself
is
upon
able
his
to
Even
before
senses and
stirs his
emotion.
The
first
tone
is
the ear
to
heart.
To
Imperishable
silent,
is
its
but
its
hold upon us
imprint,
which
lives
is
such that
in
the
it
will
memory
Viotti's
never be
as in the
in
own
to
his
stir'
"Even
before
position,
this tone
Here we
find exactly
The
tone!
the
fastens itself
what
able
is
upon
comprehend the idea of the comsenses and stirs his emotions," etc.
to
his
no part
listener
in the matter.
own
in his
soul, the
First of
the author
all,
Perhaps more or
The
"sound."
less
conscientiously, each
beautiful
sound,
whose
pupil
technic
with such a
rich,
was
whole
make
his technic
art of delivery.
not extraordinary,
The
is
Our
reflect-
the tone.
in
one endeavors to
the so-called
full
which
preted
it
becomes but a
half-truth.
If the
Rightly inter-
tone,
importance, reflects the soul, then the beautiful tone should reveal a noble and
deeply sympathetic nature.
should
my
part
generally possess
I
cannot believe
And every
a deep
or sympathic
nature,
their instruments
the soul
sought "dee^
nature
more
has been
it
sometimes play
find
in the soul?"
Is
pupils,
all
in
often
whom
not a trace of
play
with beautiful
the exceptional
feel.
Now how
produced;
is
qualifications
What
my
be discovered,
to
really true
it
in
Is
for
this,
many violinists
betv^een
may
of a soulful
since so very
like to
that violinists
For
And
it
is
My
answer
is:-
individual.
cifferinp;
N1084
the student
all
for
acquiring
it.
Nobody
will dispute
that Flesch,
In
weak
common
mine
is
across
of
great artists
all
we
comer
The
How may we
we
Could
violin.
At
it
is
of
This
quality
then deter-
lies
distinguish one
in the farthermost
beauty.
is
bow
full
to the tone
this
Hall,
see that
we
draw his
an adjoining room
in
we might
best
artists
be able to
tell
Wil-
helmj from Sarasate, because the tone of one would be stronger than that of the
This,
other.
piano,
it
is
plain, is
Should
all
play equally
pretation
on the open
another.
only
in
strings,
artist
is
in
Individuality of tone
Nevertheless,
scientists.
can
arise only
These fingers
aside
is
have
just
inter-
seen that
when
They
vibrate.
playing of one
from difference of
We
tone.
the
This fact
The
left
hand
vibrate differently.
have long been known, but has the importance of this apparently insignificant little movement, in its bearing upon the action of the left hand and
upon the work of the right arm, been fully realized ? Are we to believe that the
these facts
as
is
correct,
effect is different?
some
in the past
have been
led,
because of a
false
here discussed.
In the following chapters
From more
than 100
works at my disposal, only the Joachim-Moser School and Tottmann's "Booklet on the Violin" touch the heart of the subject.
N1084
I.
How to bring
forth a
^
"It
may
ful in
when one
and
in
enough
that he
and to
all
am,
introduced
is
in
the
wrong
first
place,
become
must necessarily
do to correctly observe
to
is
same time
1.
skillful
all
learn to
draw
skillStill,
the bow,
believe, not to be
and
blamed
and
to the
for
^
It
2.
has already been mentioned above that the violin should from the beginning be strung
with firm pressure of the fingers and a forcible retention of the bow,
the muscles become hardened and a powerful, masculine stroke is thereby acquired.
For what
that,
sounds more insipid than the playing of one who, lacking the confidence
instrument, barely touches the string with the
thereby a sort of
indistinct
to
artificial
and veiled as
in
bow
to
two
fingers)
producing
whisper, so that only a note here and there can be heard, and
a dream.
bow
when
all is
as
using force,
will
be of
great value.
n
Every
wise
it
would not be a
tone, but
parts,
an unpleasant and
and weak
is
One must
learn
this
unintelligible noise.
how
This weakness
^
Let
3.
be the
first division:
bow
Otheris
also to
effective tones.
4.
Begin the up or
down
pressure at the middle of the bow, and modify this by gradually relaxing the pressure, until, at
the end of the bow, the tone becomes inaudible. This must be practiced slowly and with as
much
retention of the
bow
It is
similarly
most
may
in
when
be able,
effective
note without taking breath, and alternates between soft and loud.
NI084
Here
it
must be
especially
hand
may
5.
In this
slight,
quicker."
Here
follow a large
number
of paragraphs
Chapter 'XII.
"All depends
composer
charmed and
upon hearing
fact.
Many
an embryo
who
is
flattered
has not oflen heard the best compositions so miserably executed that the composer
nad
own works."
N1084
his
10
"The Duties
II.
an Orchestra VioHnist," by
of
"a good
tone
produced as follows
is
good,
left
as
we
and do not
Reasons
exact spot
of a tone
upon the
may
all
bow always
the
rest
permissible to withdraw
it is
hold
it
commonly
is
upon the
draw
bow
the
in a
firmly,
strings, particularly
where,
it.
not only necessary on account of pure intonation, to place the finger in the
It is
let
away
too far
in
tone.
full
let
1776).
The
is
pitch
and even the eighth and sixteenth part of a tone cannot hear the thirty-second and sixty-fourth
part of a tone,
when perhaps
full,
which
is
by shortening the
when
of the
left
make
lacking to
the stopped
be impure.
is
not be
possible,
and should
drawn
is
this not
be perfectly cor-
should not be drawn too close to the bridge, because there the tension of the strings
and
in
if,
when
the string
not be
same
drawn
at its
away from
greatest,
bow
but
it
should
He
"These are
yet
is
too far
is
is
all
NI084
if
The
tone.
true cause
at all."
who can
Nothing
is
given
is
more
who
made
pos-
to play
11
III.
This point
tire
is
it
is
The
en-
(In
it.
Froehlich:
lo
attain a beautiful, singing tone, the author confines himself to the rules for bowing.
Karl Courvoisier:
Furthermore,
uncertainty of pitch
I refer to
when
only
Violin Technic.
(Cologne, 1878.)
let
is
Violin School,
this uncertainty
so
really no
more
trifling
effect
than a soothing one, or the tone wails and whines so that the listener
bow
then particularly
when
Next
;
The whole
power
real
is
at a loss to
to
these
know whether
in
and
ear, rather
gift
two
in Playing."
success
too distinct
upon the
"How
Piedohl:
violinist
in
if
means
as to barely be noticeable in a
quick, the tone sounds nervously excited and has a nervous, exciting effect
to laugh at or
of a finger
it
a person of feeling.
is
for
The wavering
every
result of
With thorough
study,
Kross.
So that he
may now
makes
By
Tone-colors,
light
and shade
Joachim-Moser
It is
beginning.
Violin School.
of fundamental importance that the musical imagination of the pupil be fostered from thr
Tartini said:
first
'Fine singing
singing
it,
demands
fine tone.'
The young
violinist
should never
produce.
Book
II.
pression of the
NI084
Next
left
hand.
it
When
is
means
of ex-
12
It
consists of a slight
is
The
the ear.'
many
Let
fine in
also be enlivened
if
increases in power.
it
and strengthened by
at first
first
last
to a
this discussion
rocking
it
difficult,
is
in
little
by the shake, must not become a cramped kind of trema more or less quick
according to the demands of the passage
bling in the
effect is also
tone.
Both of these
To
proper
and becoming slower with decreasing tone, and with very long tones.
The wavering
The
place.
Slow
to
Quick at
The
means.
this
2.
3.
wrong
it
movement
1.
4.
this
and
it
or ^~.
But
pitch,
and the deviation from the perfect pitch of the tone hardly noticeable
great,
The violinist
human voice.
noticeable.
is
movement
The
is
latter will
perform
it
is
its
func-
therefore
advisable to allow the neck of the violin to rest only upon the inner side of the
the higher positions,
upon the
ball of
the
thumb) so
that the
by Spohr,
it
may
is
way
If
when
this
be acquired.
II.
The Character of
violin
ooen string
vibrate;
flat
depends
left
in
little
to-
violin tones
To
The sound
is
is
clear.
duller than
on the
violin.
the carrying
employed.
made moi e
free tone
be divided into free (with open strings), and covered (without open
By means
NI084
may
major.)
open-string scales.
the tone
Violin"
strings, as
its
stopped tones which are the double or octave of the open string with which they
power
the tone.
warned against
the Tone.
ward
of thf fingers
of expression, as indicated
too emphatically
Part
movements
means
life
of the tone)
is
increased and
13
When
VI.
the pupil
is
able to keep the given position with ease, the teacher should try
done
and
two ways.
in
bv emancipating
lower
violin neck,
and
lightly
move
are essential.
side of the
fingers
more independent
necessary later
violin neck,
'Some
an
be
from the
faster.
Pre-
positions
in shifting
is
and
for
making the
used
human
in
voice in
moderation, or
moments
it
finger.
of pas-
becomes
senti-
Leopold Mozart early protested against a too frequent use of the vibrato.
violinists
and annoys.
speed.
may
Vibrato.
The
sion.
This
irental
the
of the hand."
The
first
move
In this exercise, a firm placing of the fingers and flexibility of the hand
Joseph Bloch
the fingers
effect.
The
Its
fever.'
still
more
so,
avoided.
sion
much
depends upon the inborn talent of the pupil, and to a certain extent
of his instrument.
It is,
is
Special
tone studies
particularly
practiced.
The author
continues
(b)
Kinds of bowing.
(c)
Shading of tone.
(d)
No
be particularly noticed
N1084
how
lost,
and
it
should
14
III.
JET us
"We
right
some
attention
admit
its
any
directions
its
arm upon
this
one movement
fully
The main
left
fine tone,
Nowhere
recognized.
significance,
for acquiring
the
is
something of
give
to
how^ever,
who
Also, those
the
is
full
sig-
and emphasized.
left
right
arm.
This movement, the undoubted influence of which must be admitted, has been
or
it
It
is
not only of
secrets exist.
I
is
made
vibrato.
The bow occupies a dependent relationship is dependent upon the left hand.
The left hand is entirely dependent upon the oscillation. No matter how great
the technical
facility,
it
will
The
is
failing,
if
the
and
to
be depended upon
movements of
the
left
possibility of
hand are
incorrect.
The
as
violinists
is
not
the
fingers
upon the
ence
N1084
Hartmann
ft-om
strings.
is
The
employed.
difference
We
in
playing
The masters do
theii"
differ-
hand-
15
ling of the
widely
differ
movements of
the
in
the
left
Here
hand.
alone, in
the individ-
Some
artists
Having excluded
greater amplitude.
is
it
differences in interpretation
The
sense,
is
of the
definition
word
"vibrato" reads:
Vibration (oscillation)
is
For a
tion
clear illustra-
To
a musical
vibrate, in
the forward
and
and backward
forces
or balance.
complete forward
for example,
the
number of
is
Vibration, then,
is
movement
of a
body or part thereof forward and backward of a certain fixed position or balance.
The mistake made by most players is that they confuse trembling with vibratthat
ing;
is,
movement
to the finger.
The
result
is
of the correct vibrato, but not an alteration of the pitch according to funda-
mental
principles.
the tone
Naturally,
/\A/\
instead of
The
movement.
upon
effect
lines:
^^^
waves
all
is
the
as
The
affected.
the
effect
trembling
might be ex-
movement
results in
which
lightening
it,
is
but
what
is
much
of
greater importance
its
direction
is
false.
runner
he goes.
Let
his course
is
exactly the
this
same
idea.
of which continually
original direction.
incline his
his progress
hand
NI084
is
tliereby
in
like.
movement
it
out of
its
would be
interferes
Some
body sidewards
is
interfered with
by an incorrect
vibrato,
and
direction.
16
The
scale
Here the
tain point.
of the
is
arm
is
effect of this
another
The groups
result.
movement
in
is
of muscles,
finally
(here massage
is
Fatigue
eman-
not sufficiently
fatigued.
would
By some chance
disposition.
is
recall
state.
At
once the entire technical apparatus operates; the arms become exceptionally
light; the
some reason
for
seem
fingers
move
to
to
The reason
and round.
full
own
volition,
for this
and
that
is
The cause
conditions.
easily,
It is
fail
in spite
in points
fail
cles
overcome the
The remarkable
have not practiced
supposed that the
Some
left
left
motion
causes
it
friction
hand
to saddle,
affected
however,
to be
The
old
playing
is
better
hindrances again
The
intensity
of the
tone,
and the
its
the
off.
N1084
The
not,
The
functions.
is
the)-
it.
to vibrate.
free.
is
also
work.
The bow, by
It
is
when
bow
for
less
Its
fault.
ter
in these
entirely,
many who,
in
left
meof bowing is an
(Proficiency
The
art
It is,
in
the
however, a
make an open string vibrate evenly. The matwhen the fingers of the left hand assume their
17
The
same as with
be the
feet will
and,
is
a way, forms a
in
the
string,
bow
hindrance
between the
relationship existing
bow, freed of
When
the string.
pointed line
when
all
easily
would
there
is
hand must
this
is,
the peculiar
to
left
when
waved and
the
shake
it
The
must,
in
may
any
not the
felt
is
even
regular, even,
string.
hand,
left
contact with
correct
The
Never-
defect.
bow and
movable
this
left
attention
call
of the
correct, that
is
overcomes
the vibrato
created,
is
by
so,
to tremble.
disposition
Through
Again,
there.
is
made
bow more
theless, the
be
will
when on
influences
in
any outside
not disturbed by
is
affected,
is
For example,
saddle.
added
false vibrato
weak
be too
not
in
proportion
of tone.
Alteration of tone
is
open
string, all
hand.
left
Is
Is
relieves
it
finger,
This
has
on the
kamed
string,
at the
proper vibrato
we
feel
is
effect
than that."
a person of feeling?
is
to play only
Let
second
proper pitch.
The
movement by a second
of
who
and forward,
tone
tone,
the
a person of feeling."
a beautiful
feeling?
vibrato
stiffness,
He
"The
finger
should be
becomes
made
1.)
to
execute the
Immediately, a
metallic, larger
and "emo-
18
tional."
way
no
taken pai
it
t
must be acknowledged
in the
performance.
that the
The mistake
feeling.
their
come of
itself w^hen they become older
Then,
and more developed.
planation that this will
The
pupil begins
of
vibrato
his
teacher.
may
more
acquire a
The study
the pupil
is
By means
ly the case.
correct,
oscillation
consequently
Figure 1.
haps he
be
If
who,
at
Per.
loss for
exceptionally talented.
left to
chance, as
is
common-
of the vibrato; in
fact,
they
in-
sist
the
repose.
The
probably
is,
this
in
explanation of this
pupils,
ment of
technic.
The
vibrato
made, and
it
ment
entirely than
incorrectly.
NI084
it
to
is,
of
move-
perform
Figure 2.
19
With advanced
the
pupils,
is
it
left
take the
important that he
first
learn
left
When
may move
freely
remains
Here
and
it is
itself,
we have
similar condition.
in
preventing the
manner
In this incorrect
some way or
hand from swinging
The
made.
we may
all
incorrect
the
first
pressed against
fi-ee
false vibrato.
often
of
find
vacillating
(Figure
3).
a somewhat
arm
other, concerned,
at
the wrist,
The
and permits
first
of assist-
easily.
free
finger
is
correctly or incorrectly
is
movement within
always,
is
Let him
the violin-neck)
are
it
the beginner,
It is
here
2.)
finger.
left
vibrato
For
to
Then
we
field,
singly,
which
arm musc'es
in
properly
no way,
Through
(by rolling move-
no contraction thereof.
ments or massage)
it
may become
possible,
to
The
difficulty
ing consists
the
left
arm.
ly tends to
arm
in
it
is
in play-
necessary to
lift
induce contraction.
ment,
in
order to relieve
all
unnecessary tension.
Figitfo 3.
(Figure 4.)
To
free
be practiced.
rolling
be accomplished, especially
if
the advice
20
The
the
hand
is
tnere
mini-
Figure 4.
mized. (Figure
5.)
should be played
only the
tip
The same
thing
is
The
exercises
first finger,
The palm
is
of
difficulty.
it
is
also
and go
fourth position
the
position last.
first
In
wish
to
to
concluding,
warn
the student
aggerated vibrato.
the excessive
the voice,
able.
it
One's
Like
tremolo in
is
disagree-
artistic taste
The
Figure 5.
NI084
experience of
21
He,
of special interest.
is
has
too,
movements of
vibrato
false
main
His views,
distinguishes betw^een
too,
an incorrect
pupils.
point
He,
to
his
vibrato,
a correct and
arm and not from the fingers. The inmovement begins either at the elbow (the
point in the
correct
effect
wrist
(too
cramped
The
oscillation),
slow).
of contraction of the
kind
or at the
arm
muscles.
Flesch,
way
is
Figure
Prof
6>
in
in
no
participates.
Through
cellent
the kindness of
exercise
for
the
Prof Flesch,
study
of this
am
much
able
by
technic,
of
Rivarde,
Royal
the
branch
violin
prominent French
the
Prof
violinist.
at
to
neglected
College
teacher
Music,
of
London.
To
of the hand.
directs
that
held
violin
tive violinists.
note
at the last
"With the
the
close
(Figure
C were
7),
like
first
finger (B natural),
on the
to be as
little
flat.
minutes in succession.
amples.)
N1084.
the
string, hold
five
neck of the
position
ought
played a
Prof Rivarde
to
necessary
the
repose
be
''^"'^ '
acquire
(See exFigure 8.
primi-
a whole
22
The
is
It
is
important that
the finger be placed as flatly as possible on the string, to allow sufficient play
for the
firmly
forward movement.
upon the
N1084
Disregard of
this
point brings
23
Vibrato Exercises.
To
isolate the
hand from the arm, the hand should be placed against the edge of the
olin, and the vibrato made only with the finger while a rocking movement
the hand. The following exercises are to be played in the 4^-" position.
is
vi-
carried out by
I.
string.
string.
xeffite
f^^
a^
ZJSZ
string.
~r-
^
E
-o-
;;3i:
41
t^
iT
Tf"
~rt~
segue
*
3
gftp
4
[2
|:.
fe te
1
string.
segue
#E
^^
CZ2
'
It
1
II.
*S
III.
15'
segue
IV.
^
3
III.
#
*i
Tl"
3Ce:
S T-^ fei
4
-t
I4;n4- 10 N1084
s-
rrrnff
T
L_^
#-#
Copyright
&
^
#
feg
-o-
izz:
rj
rj
-O-
24
III.
To be played
in
3^ position.
Alleg^ro.
I
;.'
^'
ra
/*
(^i
?2
f trifrf
:<tiK
<5^^
Adagio.
*
n.^S
^0
221
fr
4i
<g
r r r rr'rTf
T~3
0^
Adagio.
a
IIL^^S
I
8-
^^
To be played
in
39
Adagio. ^_
I.
'
I3
tnf
'
IV.
position
scgne
W^ ^
22:
2Z
^^
/5L
Adagio.
tS^
n.3^
22:
I
f
fif
if
TT
^
n:
2ZI
zc
Andante.
^ ?^
m.3^
-n-
i
33E
^Em
TTT
'^
r
The hand should be held
14374-10 NI084
flat,
^ ^
Jjij
25
In the first position, the vibrato demands great freedom in the position of the
especially of the first fin^^er. Seei Fig. V.
left
hand, and
I.
string.
^^
1
I
:2
i ^-
S
3
n\
m^
*
*.\
rj
rj
tv
mte=>
ilK-t^O ^^5-i5
U>-
fe
segue.
/0\
#S
string.
srgur.
/Z\
I?**-
string.
-o-
Hg
i5^-(5^
On
>^
string.
-o-
r\
tS"-!:^
~<y-
r:\
r-i
'^
iTF
/CN
-o-
-o-
-*-
,0
/7s
i^
.f^i'v-'^.
S F^^
II.
US
Andante
^^^
^^
i!
:
^ c
-er^
m
a
m
^
^
OT
$
^
^
^
jJfri^imq
#
P i^
P^M^^m
m.
Adag-io.
r\
*/
IV.
Alleerretto.
,e^
* '
^^i^o"
^r{[r^iCrf
<
'^""'-
pp^ij^j
14374-10 NI084
Jr
j J
I
ijjJJ?]]
Broad.
^^
*i
i^^
r*
a
I?.C. a I
Fine.
26
I.
Begin
in the
G & D
position.
strings.
12-1
12-1
D &A
strings.
A& E
strings^^
bfete
striniis.
A& E
strings.
12
a:^
=8^
tete #te
*gte
i
4
position.
G& D
^^
segne
jjS
1
/^
II.
2
4
2
4
_
-
Sixths.
segue
segue
segue
*^
1^
5L
^SL
^-?4
3
2
1
III.
In the 4*]^ position.
segve
f=f
=^
g g
1
=g:
SI
:5cz=5
I
2
4
5^
4
3
^# fe
S>-
4
14374-10 NI084
z:
^=#
2
4
i5
27
IV
M
s
^K
m-
i^J
%4^
r
-J
:^
r
i 1^
seg-ue
<*
(jp
s=g
-f2-
^ e
/O
z:
-s-o-
OTT
sea~ue
II.
^%(^
-^
-(2.
i2.
5^
tS^
i
J
1*-
-&^
See
LU times. ^
I.
10 times.
lO times.
.te^/e
~^
^^b^^5^ir^^^Wb^j*^^^>
Practice on
all
3_
strings
on
III,
14374-10 NI084
on
all strings.
IV &
all strings.
28
4n}e Corde..
Mazas.
a^jtressivo
^ a
r-'ST^in
'Tr-FrrFr r^GT-Eri^J^^^^i^
4^
ii*
:ffl
dim.
L> J^i^
^
^i^l lY^
J^i- J
</?>//.
i^
J^
I
/>
y>
8 me Corde...
P^
5^
-sfitm.i
y=
4n}e Corde
Ar
-nij jj
esprrsan'o.
i^
uj^m
q-
nl^
^^
dolce.
MiXij
^-T*(. - 1
iJ
rcT
i^clii
talon.
s4
^
^
?iE
^^
4Tne Corde..
14374-10 N1084
ifcW
#-*
'g'
^oco
furX
n^.
^JjiJU-
'
29
Lar^o.
-i
F.
TV
crcsc.
B i.rr#-
--Z7
"tT"
IX
'^
-^
^^
crrsc.
./
"TT-
/>-==^
4J^^F
~rr
ho-
r'*
4
X2.
4_:J-[jJ
^.
'
[,J
j^i,^
crcsc.j
^4j^
P
i^J:i-
crrsc.
?ii
I:
drm.
/>
-f
crrsr.
Pi^
i^
j^
Ji
CtT.SC
J)
'
'"M i[=^
iX
i
^'
fz
zz:
? f.
^o^.
/>
tt^
f>,.^f
=y> -= / -= /
^
14374-10 NI084
"TT"
11
cresc.
'
1^]^^
^^
<,!
^r;
1^
-^^"^
^^
30
S()lo.
g^^
Tiif:
PP^
///
m P^rW>'^^
:=:
3da Corda
Q:
cv,
^^
Ttztz.
ir^^fF
Minore.
jC/-
era
su una Corda.
r-n
>
,rTTTxi
ig^rji
/i
4 j<
fe
-^
-44-
^^
^fe
h-i-^?
J-
Mag"giore
k--i6>^
wm^
\-^^^<^\iJ
v-^ I
f
4t
fT^
Z\ll'[l'^!
r^ r ^ r^
Tutti.
^W^-u]\^J^^T^^^
^^4^%
o
3E
F-^r^^
^fT-^^!
$
f
//-
-o-
TTT
14374-10 N1084
he:
r^s^
31
Adagio sostenuto
CAllegro 7nudcrat(>.)
14374-10 NI084
Kreutzer.
32
Andante,
i-
rr ^
#t
'LJ^
^'''
(I)
it^=^^^m^
^s ^
M
^
I*
SSfe
^^^:
^:
zz:
li^r
433
^M^
^i^^jmj-j^: p^^JFf
V4
(irl
3
i^ jM=#
2
4
^
/T\
i^
*
3I
ii
Ch. de Beriot.
^
ft
M*.
tsizz
tizrjS
f
P
f
tfr^-jT t3=i:
tteii
j Stif^
Tg^i
^it
!^
ff
l^p;
^
^
f
^
<
I
J),f f,i
iuf
ff
P
r=f=^-^-i S
rT= ;b
f
Moderato.
seeue
^
I
f,,
|
^^
iifTqqb
J
W:
i
vf
[?
; H''"[^H
w"
i^
i^^^^f^^ ^
'~
ft
''f
14374- 10 N1084
u.
'i
'l
It
|t^jsrpvi,ijvr^:^^iQ^
>
-r^^
^^
^^La^S^S^^rl
Techinical IVIaterial
1^
^^iolin
^^^^^^^^^^^^^^HARit
VoL
of all
1317
8.
00
2046
8.
00
modern works on
violin playing.
Vol.
II
This is the work that O. Sevcik called "a bible for violinists. " The
wealth of pedagogic research as well as instructive advice contained
in this book covers a lifetime of practical experience and defies description.
205
1.50
to Bk.
I,
scales in
IN VIOLIN
all
keys
PLAYING
A work
S 49
Carl Fischer
62 Cooper Square, New York 3
BOSTON
CHICAGO
DAUAS
1509
3.
50
2358
1.
50