Fla erce to laelae te , + —— SR apvANCED VIOLINISTSCircle of 5ths C Major A Minor 9 D Major B Mbnor bt Bb Ma 8 tt G Minor e 6 . BMajr 2h igh EMajor CM OF gi Minor gue iy ‘Ab Major B Major FMinor else Guts Gt Minor ‘Db Major ‘F# Major ‘Bp Minor ‘Dé Minor Chord Functions in the Key of C $ 4 : q Se 1 i ov oy “ vit viay ‘Toric Soper: “Mada Sub-—Dominunt, Sub Leaing- Dimshed. Dominant ‘onic dominant median tee ThPractice Suggestions for Scales and Arpeggios tice of scales need never be monotonous! Bowings and rhythms may be combined in dovens of differeat ways. ice of scales and arpegoes. The howings ard thythmic variants shewn here may be applied to the Fist Busses vet in he Vous’ pee w Geysop a inpove evenness la, Yew hesic howings and rhythms are sipgested here. The more notes played in ote how, the faster the tempo Mus De ‘but never at tbe expense of accurate intonation, Imaginative combinations of these examples starting on both dlown-bow aad ap-bovs will produce endless variety “The scales snd seven ampeggio routine found in this book are based om the scale systems of Otokar Sevcik sind Cush Flesch. The upper fingerings in the se Thave beea passed dowa though several generations of {eashers and students from the famous Belgian violinist, Eugéne Ysaye. In Ysa¥e's system. the Bon crosses the stings {int then the left hand shits on the E sting. In the lower Fingering, the fist Saif occurs on the D oF A string. So Usk the Fow arm leads sinoothly to ths ‘open strings are asuaily used on the ascending scale and fourth fingers fon the descending. “Tere are numerous waYs t0 play tops, iowever, and teachers and Students should fecl free to employ various fingering systems Each hown in the key of Grand should be transposed int al keys. Scales [Estos