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    10 views168 pages

    Galamian - Contemporary Violin Technique Vols 1 e 2

    Uploaded by

    Maria Ibáñez Valverde

    Copyright:

    © All Rights Reserved
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    of 168
    Ivan Galamian Frederick Neumann CONTEMPORARY VIOLIN TECHNIQUE Volume One PART 1 Scale and Arpeggio Exercises Catalog No. 1.2356 GALAXY MUSIC CORPORATION ‘division of Preface ‘This is the first in a projected series of three books intended to present a method of study covering the essential elements of contemporary violin technique. Scales and arpeggios in single stops (Part I) are integrated in an entirely new way with a system of bowing and rhythm patterns* (Part II). By application to the exercises, the patterns are designed to help the student derive greater and quicker benefit from his scale and arpeggio practice, Since technical mastery depends more upon control of mind over muscle than upon mere agility of fingers, the direct way to such mastery lies through working procedures which present a constant challenge to the student's thinking processes. For this reason new problems must always be faced and solved, To provide such new problems in almost inexhaustible supply is the chief purpose of these patterns, ‘The patterns are in two categories: Bowings (designated by B) and Rhythms (designated by R). Each category is divided into sections, coded BJ to B16 for bowings, and RJ to RI6 for rhythms, ‘The numbers indicate the number of notes in each pattern, For example, the following bowing pattern 6» o ve is regarded as a two-note pattern, being made up of two-note components +» and is therefore listed under B2, The design ¢ “Fs + is a four-note pattern and appears under B4, ‘The same principle applies to the Rhythms. The following example JF da derives from the two-note rhythmical figure . Accordingly it is referred to as a two-note rhythm pattern and is listed under R2, The figure ints {577} is a welve-note pattern (R12). All three-note patterns can be applied to any exercise employing groups of three notes or any of their multiples. In an eight-note exercise, all patterns of BJ, B2,B4 and B8can becombined with all patterns of RJ R2, R4 and R8, In twelve-note exercises, all Band R patterns of 1, 2, 3, 4, 6 and 12 can be combined, This versatility of application permits a single pattern to be used for several different exercises. Innumerable combinations of B and R patterns can be utilized, as well. £77 is a three-note pattern (R3), The figure ‘The following illustrations derived from Chapter 3, Part I, will demonstrate the method of combining the exercises with the patterns, The applicable patterns are: Bl, B2, B3, B4, B6 and B12 R1, R2, R3, R4, RG and R12 First Primary pater: {77 J TN 1 Application of its first primary pattern: SSS *The guiding idea of this integration is explained in Ivan Galamian's book, Principles of Violin Playing and Teaching, Prentice-Hall, Inc., Englewood Cliffs, New Jersey, 1962. Example of exercis: i ame 2356 Combined B3, 2) Combined with B4, 3) > ‘At the head of each chapter in Part I B and R code numbers are listed to indicate the applicable patterns. Primary patterns in which the exercise should first be practiced are also given, To facilitate the use of various bowings, rhythms and their combinations, all note-heads in the exercises are printed without stems. Bowing patterns are shown by note-heads which do not indicate any specific time value, meter or rhythm, Rhythm patterns are presented without any indications for specific bowings. Wherever two different fingerings are given (one above and one below the notes) both are to be practiced, Other fingerings should also be devised. In some exercises in Chapters 19-12 of Part I the use of “creeping” fingering is suggested. This technique is briefly explained in Chapter 10, ‘The teacher will be the best judge of which bowings, rhythms and their combinations will most usefully serve the needs of each student, It is suggested that the patterns be utilized in a diver- sified fashion and that the rhythms and bowings be employed in constantly changing combinations to stimulate continuous interest. Chapters 3, 4 and 7 of Part I contain particularly important material for such treatment, We hope this approach tothe problems of contemporary violin technique will provide interesting and profitable results for both teacher and student. Ivan Galamian Frederick Neumann OMe 2386 iti ie Table of Symbols Symbol 1, , MIL, ete, G,D, A, E p—— KR 1] 2 2 ® Definition Ist, 2nd, 3rd Position, ete. Strings Stay on the same string Continue with the same finger Reach up Reach down Keep finger down Remain in position awe 2356 1 Scales in One Position Groups of eight notes. PATTERNS: Bi, B2, Bs, Bs, (Bis) RI, R2, Ré, Ri, (R16) Primary Patterns: 1mm ao oie Practice this exercise in all the major and minor keys. * ostt ete, —— Printed in U.S.A. Mc 2356 © Copyright 1966, by Galaxy Music Corporation, for all countries, a division of ECS Publishing, Boston, Massachusetts. - 7 Scales on One String Groups of twelve notes. PATTERNS: BI, B2, B3, B4, Bo, BI2 Ri, R2, R3, Re, Ro, RI2 Primaty Patterns: {OHA MARAE AANA Practice this exercise on all four strings in all the major and minor keys. ONE-FINGER SCALES TWO-FINGER SCALES G 1 A 2) omc 2386 THREE-FINGER SCALES G eee amc 2356 3 FOUR- FINGER SCALES 4 amc 2356 7 Three-Octave Scales Groups of twelve notes. PATTERNS: BI, B2, B3, Bs, Bs, BI2 Ri, R2, R3, Re, R6, RI Primary Patterns: PTGS 8 Lr In addition to these patterns, practice all three-octave scales with the Acceleration Exercise as shown in the following example, In playing it make sure that the value of the quarter note remains the same throughout, Choose a slow tempo at first (J = 50-60), then gradually increase it, The exercise may also be practiced in reverse as a Retardation Exercise by starting at the end with the thirty-second notes and finishing with the eighth notes, ‘eet : 2356 ——= : Illt= = [b= 16 ie be 8 2356 a a B------- lle a Wy Beste eee 1a) nD a------- 2356 9 a WM ees oco4 20 2356 2056 lL 2386 2356 13 4 Scales of Varied Length and Different Groups of Notes Practice these scales in all the major and minor keys, Groups of five notes. PATTERNS: BI, BS RI, RS Primary Patterns: iO seam: Dl “Whenever the two highest notes of these scales form a half-step, they will best be played by the same finger. Example: “4 2356 Groups of seven notes, PATTERNS: BI, B7 RI, RV Primary Patterns: tan maT enc 2356 1s Groups of nine notes. PATTERNS: BL, B), BY RU, R3, RY Primary Pawterns: VN 16 ame 2356 5 Four-Octave Scales Groups of eight notes, PATTERNS: BI, B2, Bs, BS Ri, R2, Re, RS Primary Patterns: Guat! ome 2356 rr 7 s 23586 ame 2356 19 6 Arpeggios in One Position Groups of twelve notes. PATTERNS: Bi, B2, B3, B4, Bs, BIZ RI, R2, RD, Rd, RO, RID Primary Patterns: i @ereeeererrri @erecerererer “Stay in second position and reach back with the first finger. 20 ewe 2356 21 2356 2386 22 ome 2356 23 iy +4 2356 Gwe 2356 25 2386 26 sl! Groups of sixteen notes. PATTERNS: BI, B2, Bs, Bs, Bio RI, R2, Rs, RS, Rio Primary Patter: {Gar 2356 27 ot weet a a te = — SS oot t 2356 7 Three-Octave Arpeggios Groups of nine notes. PATTERNS: BI, B3, BY RI, R3, R9 Primary Pattern: immons 30 2356 2356 31 2356 32 33 2356 2356 36 2356 2386 a7 38 2356 Ie > > Groups of twelve notes, PATTERNS: BI, B2, B3, B¢, Bo, BI2 RI, R2, R3, Ré, Ro, RI2 Primary Patterns: t SHARAD LTT Ts SAR ARS Practice this also with the slur extending over two measures, 2 es — 4 2356 40 42 2356 43 2 a z SS 2296 # je 2386 8 Four-Octave Arpeggios Groups of twelve notes, PATTERNS: BI, B2, B3, B4, Bs, B12 RI, R2, R3, R4, R6, RI 1 “ a r 2386 45 omc 2356 Groups of eight notes. PATTERNS: BI, B2, Bé, BS, (Bis) RI, R2, Ré, Rs, (Rid) Primary Patterns: 2396 47 omc 2356 48 49 amc 2386 7 Arpeggios on One String TRIADS Groups of twelve notes, PATTERNS: BJ, B2, B3, By, Bé, B12 RI, R2, R3, Ré, Ro, RI Primary Patterns: {WHS manape aay Written for the G-string, the exercises in this section are lobe practiced on all four strings, - 50 omc 2356 *Ossia oc 2356 51 omc 2356 52 DIMINISHED SEVENTHS Groups of eight notes, PATTERNS: BI, B2, Bs, Bs, (B16) Ru, R2, Ra, Ri, (Rid) Primary Patterns: {On Olas DOMINANT SEVENTHS Groups of eight notes, PATTERNS: BI, B2, B4, Bs, (Bis) Ru, R2, Rs, Ri, (RIS) Primary Patterns: Inna ome 2356 53 a ame 2356 10 Broken Thirds Groups of twelve notes. PATTERNS: Bi, B2, B3, Bs, Bs, BI? RI, R2 RB, RF, Ro, RZ Primary Patterns: 1 FRA ASU kk anal Also slur two measures. Practice in all the keys. IN ONE POSITION Practice both fingerings to cover all the positions, ON ONE STRING Practice in all the keys, Right different fingerings are given, They may all be applied to any string, eer 7 ore 7 : : cue 786 i ENTIRE SCALES Practice in all the keys, 56 Mec 2386 ll Broken Fourths, Fifths and Sixths FOURTHS IN ONE POSITION, 2, BS, By, Bo, BI Groups of twelve notes. 2, RG, RY, RO, RID Primary Patterns: Also slur two measures. Practice in all the keys, Practice each exercise first with the upper, then with the lower fingering. 1 eee n x vil « vin enc 2356 57 FOURTHS ON ONE STRING Groups of twelve notes. PATTERNS: Bi, B2, B3, B¢, Bs, B12 RI, R2, R3, Ré, Ro, RZ Primary Patterns: ignamaApu aD Practice in all the keys, All six of the succeeding fingerings may be applied to any string, The nereeping™* or "caterpillar" style of execution is applicable to fingerings 1), 2) and 3). Fingering 4) uses extensions throughout in the manner of fingered octaves, ate? Creeping" fingering as shown in example a) should be played as illustrated in example b). While the fourth finger plays the a’, the first finger contracts to f'. It then acts as a pivot for the shift of the hand and arm toward the next position. Example c) shows the use of an extension: the third finger stretches up to e” whilethe first finger remains on b'. The third finger then acts as a pivot for the shift of the first finger and the hand to the second position. ‘The same principle applieé in descending fingerings as shown in examples d) and e); the former with con- tractions, the latter with extensions. 58 omc 2356 FIFTHS ON ONE STRING Groups of eight notes. PATTERNS: BI, B2, BY, Br Ri, R2, Re, RS Primary Patterns: {C005 seams Practice inall the keys . This exercise can be played in three different ways: 1) by shifting in the traditional manner. 2) by maintaining the stretch of a fifth throughout: i i 3) with “creeping” fingering. Mc 2356 59 SIXTHS ON ONE STRING Groups of eight notes. PATTERNS: Bl, B2, B4, BY RI, R2, R, Re Primary Patterns: {OOO aa Practice in all the keys. Here, too, three different ways are possible: 1) shifting one step while maintaining the stretch of a fifth: 2) maintaining throughout the stretch of a sixth in the manner of tenths. 3) "creeping" fingering. 60 ome 2356 12 The Chromatic Scale Groups of twelve notes, Use the Acceleration Exercise (page 5) in addition to PATTERNS: BI, B2, B3, B4, Bo, BIZ RI, R2, R3, Re, R6, RI Primary Patterns: ima) IN ONE POSITION Th The exercise may be continued into higher positions. 61 ON ONE STRING All four fingerings may be applied to any string. Other Practice alsoon the D and A strings. fingerings may be devised. OCTAVE SCALE FOUR: = = ea Tt ome 2386 62 13 The Whole-Tone Scale ON ONE STRING Groups of twelve notes. PATTERNS: BI, B2, B3, Bé, B6, BI? RI, R2. R3, R4, Ro, RI2 Primary Patterns: 4 An aang san Also slur two measures TB! Play on all four strings, ACROSS THE STRINGS Patterns as above. ome 2356 63 THREE-OCTAVE SCALE Groups of nine notes, PATTERNS: BI, B3, BY RI, R3, RY Primary Patterns: IMO) aa 64 ome 2356 anc 2356 65 14 A Few Non-Traditional Scales and Arpeggios ‘The scales and arpeggios in this section are intended as introductory study material for contemporary music. Fach exercise is built from a basic interval or series of intervals indicated by the lower bracket and regularly repeated at a definite interval-distance shown by the upper bracket, The resulting non-traditional sequences provide a technical basis for an approach to present-day music. SCALES Groups of nine notes, PATTERNS: BI, B3, BY RI, R3, RY Primary Patterns, Iwas ow 66 aac 2386 “The upper accidentals represent a second version of the scale. ame 2356 67 68 omc 2356 Groups of twelve notes. PATTERNS: BI, B2, B), B¢, Bo, B12 RI, R2, R3, Ra, RG, Ri2 Primary Patterns: {mas ease sansns Also slur two measures. omc 2356 69 ARPEGGIOS Groups of twelve notes. PATTERNS: BI, B2, B3, Bs, Bo, BIZ RI, R2, BB, Ré, Ro, RZ Primary Patterns: PPA erererersrir Also slur two measures. Mc 2356 omc 2356 eS A 1 é be re ~ 72 ome 2356 awe 2356 73 Groups of nine notes, PATTERNS: Bl, B}, BY RI, RB, RY Primary Patterns; in Also slur two measures. awe 2356 74 omc 2356 75 Ivan Galamian Frederick Neumann CONTEMPORARY VIOLIN TECHNIQUE Volume One PART 2 Bowing and Rhythm Patterns Catalog No. 1.2356 GALAXY MUSIC CORPORATION 1 division of Bowing Patterns ‘The Bowing Patterns are realized by repetition, Thus, the basic two-note pattern «~. be- comes«~. «7s os, ec. Each master pattern forms variants by being shifted, note by note, across the bar line, All patterns may be started either upbow or downbow. Dots may be substituted for dashes and vice versa, Either may represent any kind of detached or staccato stroke, short or long; on or off the string. Apply the bowings first to the Primary Patterns which appear at the beginning of each exercise in Part I, Then combine them with the Rhythm Patterns to be found starting on page 20 of Part IL 2 ome 2356 ONE-NOTE BOWING PATTERNS BI. rn ne ae 2 v TWO-NOTE BOWING PATTERNS B2 dy 2) THREE-NOTE BOWING PATTERNS —_B3. bo ee 2 eo 6 “Te so To , Me 2356 © Copyright 1966, by Galaxy Music Corporation, for all countries, Printed in U.S.A. a division of ECS Publishing, Boston, Massachusetts. B4 FOUR-NOTE BOWING --. e ° a ae oe oe a fa eo PATTERNS a er . . 7 . 5) 3 6 2 6 a — Qe ZT Mc 2356 FIVE-NOTE BOWING PATTERNS BS ‘wwe e awe 74 Tw cies merers ‘ee ee “~ <7 oe eae 0 8 7m oT [eae 8 oe. oe eae sae 5a 4) oe 5) «e ree 4) «ee eee a oe aoe se “ee rd . re a ee owe aaa ot “ee —_ Tee *Variant: From here on, each master pattern is followed by a variant which can form still further variants by being shifted, note by note, across the bar line. Mec 2356 5 B6 SIX-NOTE BOWING PATTERNS 6 amc 2356 D Sowa e OV momen s sao (BO) SEVEN-NOTE BOWING PATTERNS —_B7 » 2) eeoeoes O)e enelelene 4. 6 OMe 2356 7 Coe ceo 8 eMc 2356 EIGHT-NOTE BOWING PATTERNS Bs Me 2356 9 10 OMe 2356 9 oe we 1) oe 8 «> & (BB) i i ee Bee a8 ee ee ee ee i er a ee ee ow ee ee ee ent ieee eC COME CE omc 2356 B9 NINE-NOTE BOWING PATTERNS 1 2 ome 2356 . . . . . . ome 2386 13 Bi2 TWELVE-NOTE BOWING PATTERNS 2 Cocco rev eee we wee ccc coee 7s oceeeoe oe ooeeeee oe coeeeeee Cr a ee) coe ee Ceo eeee coee a —geeceeecvesee “eeeevscooeee cece eer ea woe cece eee e awe omc 2356 (B12) . . . ————___ . —— _—$—————__ S aaeeaeEras coe ess wee eee eee ssscvecee sa wvoce aceoee - as AA wee ee eee re coeoeees ane 2356 1S . ) 5 . sem Se aoe cece oe saes aoc cee ewe seas - ——_—_—_—. ; . a ed care oce reese a ee ie a ed . . . . wwe wvoee wwe —s — eo ee sess weee eo eee — > — cee e ee seas woe ee sae 16 ene 2356 8) (B12) ——_ eooe coeoee ee — e Bose cee oes ee eee ee ewe wooeee « ecco eee tee en . . . . . . oe ——— —_. a ee) a ee ee coe ce oe ee we anc 2356 7 (B12) ) «se oe eee Soe a i a ee ae} ee ee ee whe ee Coe Kee we eee co oe coos a La A Bee oe we wees so or Be cv oe woo ses . . . coon cooe oe a ee ie ae esas oe re ee ee telco) ol caeNens saen> om: 18 eme 2356 (Bi2) re SIXTEEN-NOTE BOWING PATTERNS B16 Sixteen-note patterns are formed by combining patterns of smaller groups adding up to sixteen notes, such as a twelve- and a four-note group; two eight-note groups; a seven-, a six- and a three- note group, ele, These newly formed patterns may then be shifted, note by note, across the bar line to form still more patterns, xamples: a twelve- and four-note group: ws eee ere two eight-note groups: Reem The same combination principle can also be used to form new wwelve-note, nine-note, cight-note patterns, efc. ome 2356 19 Rhythm Patterns ‘The Rhythm Patterns, like the Bowings, are realized by repetition. In some instances this repetition is spelled out, partially or entirely, for greater clarity, A bracket "—— is then used to indicate the basic pattern, A slur combined with a horizontal line linking two notes shows that they are to be played as one note. For example, 2 indicates one note representing the time value of five six- teenths, The line is to show that the pitch remains unchanged. = Beginning with R2, the patterns in each chapter are arranged in three groups under the headings of a), b) and c). a) presents simple rhythms in traditional meters, b) syncopated rhythms and ¢) rhythms in irregular meters. ‘The following patterns should be practiced first détaché, then legato, For legato practice begin by slurring the notes of the pattern only, [g¢J29. Then extend the slur over the en- tire measure, Where rests within the pattern prevent a legato rendition, play the pattern in one bow stroke, d_fA3 4, As a final step, bowing and rhythm patterns should be combined as illustrated in the last two examples in the preface, NOTE: It may be advisable to begin the rhythm patterns on open strings before applying these patterns to the scales, noting those that are troublesome for additional attention. 20 omc 2356 ONE-NOTE RHYTHM PATTERNS Ri Every sequence of equal notes represents a one-note rhythm pattern, to be defined as the repetition of a single note, or of a note and a rest: » 2) 3) 4) fii J Jd dR RTM All Primary Patterns in Part belongto this category. There is no need for further examples except for afterbeats and syncopations like these: 1) 2) 3) fri JJ dR ITD AL | 4) 5) 6) 7) PLLA ls dy DU FR Fb Fl 8) % 10) Geb gh yhdadsy ghey gda de de de dl ame 2356 21 R2 TWO-NOTE RHYTHM PATTERNS » 2) 3) 4) 5) 6) O8@ CSIs LIA AI SI 10) i) 8) 9) FAISAL » 2 3) 4) 5) 2 against 3 be. 20 ie FO 1 RP » 2) 3) 4) eee 5) 6 7 8) ee eee ee eee | 9) 10) u) 12) Bldis SUA] Dad | 22 omc 2356 THREE-NOTE RHYTHM PATTERNS. R3 1» 2 3) 4) 5) 6) 6G) Jeeta ase le ere ee ee | ” 8) 9) 10) mm) 12) Weed Viorel e eee) ee teal 2) 3) es eres ey FULFILS WTA pd dll gaya 4) CIID WT Ble | ) 6) ” 8) Sagainst 2 9) 3 against 4 eo adits ddd ep Pte 1 7 tr » 2) 3) 4) 5) 6 7 OBL TUT dd dd 2 od NL Wl 8) % 10) um) 12) Fis ld All FUT Weds dd) 21 13) 44) 15) 16) 47) Bd Jd dda dab a ddd OM auc 2356 23 R4 FOUR-NOTE RHYTHM PATTERNS » 2) 3) 4) 5) 6 aa THI ATI III ATS IIH | an 7 8) 9) u) 12) 13) 14) FTF). a3) BR CAR ASTa ia 15) 16) 17) 18) 19) CPFAN RD WITT IT aaa 20) 2a) 22) 23) 24) 25) FITUIITIA FT TTT TL 3) 4) v 2) oF) LIS Waren 3) 6 7” ASA A AL PLL FT 8) 9% 10) nu) 12) 3 % r-3 PTL TSI T EM AALS tlordo de DILL WL dg iret 24 omc 2356 » 2) 3) . 4) 5) (R4) 8) TTD) Ts TLL hs ITT Oy ° 7) Boor lene | 8) 9) 10) uw) 12) Old JN Jd Eta) din IT 13) 14) 15) 3+2+3 FVill WLidil De Lita 24343 8 FIVE-NOTE RHYTHM PATTERNS —-R5 » 2) 3) 4 5) MITA IAT RIOTS 6) 7” 8) oo as 1 FFA IA I 9) 10) 4) 12) 13) @ FRI nmimnionmi moraomirmAni emc 2356 2 (R3) » 2» 3) 3, FLT sIFR) a al 4 5) 6) 7) 9 against 2 FLA OL aL dT ® rf » 2 3) 4) 5) 6 08 STRSTR ARR 7? 8) BIN Gl 9” 10) uy) 12) BIDIFRICRNGI SA 1A | 13) 14) 18) 16) raga ame adaoe oe liemse ere) ede sae) | 26 OM 2356 SIX-NOTE RHYTHM PATTERNS » 2» 3) 4) VEIT ITA IITA MFP NATTA 5) 6 ” 8) FITTV ITTRT) WITT ITT » 10) uu) 12) SORA Raa |) TT 13) 14) 15) 16) ITF AT ST). OL DFP 17) 18) 20) ay 19) CART OTRIBTT) R 22) 23) 24) 25) 26) iT RSIS SD BIBT 2) 28) 29) 30) Serle el eaeest eeect era) ever 31) 32) M14 IITI ITI 1 GMe 2356 a7 R6 (Ro) » a ) 84 FLFR I LAA LA Fl en TLR Ala LIT | 7) NAST LL. ral. TL q 10) ITLL | » 2) 3) 4) ok ATT IIITATTIU NIT SAT 7 TT | 5) 6) 7) 8) TITRA RM ITI) CAV ATS 9) 10) u) 12) IOSFR FR. 1B) Bi TG 13) 4) 15) 16) BL ETT Dds TO dEDTT 18) ey) —_——— Ivdis Fluid TF} IFNy FT TTL) TT 20) 21) 22) 288 de DIE) TPA Tid ol midi lic 28 omc 2356 SEVEN-NOTE RHYTHM PATTERNS R7 » 2 3) 4) 5) va STR A A ST STA ALF ° ”n CRAB IMA AD Bis 10) rh) 12) 13) A GIA Am 18) 19) 20) ) 16) 17) Q Sa | | | SE D 2) AR APL) PALA Tae 3) 4) 5) IVAN ATT 6) ” ADU TH TL LT Gl 8) 7 againse 2 9) 7 against 3 iT aaa @ ¢ t Att t 4 @ +t t Het ft: ame 2356 29 (R7) » 2) 3) 4 aI FAA ATH 5) 6 » 8) PITRIAGAHN In ATA 10) 4) 12) GFR IIT ARIAT TITS 13) 14) 15) 16) BTN TUT TA TTT ” 18) 19) ITN SITG TAIT Faby Tai ed 20) 2 22) 23) 28 TOMEI TTT de 24) 25) 26) TiiJTI NL ANA WIT 30 B+2+3 8 ame 2356 EIGHT-NOTE RHYTHM PATTERNS. » 2) 3) 08 FRR FT FP IPP am 4) 8) PRPI PIPL FTF OR TS » 8) » FRR PSS FPL FR IFPI ar 10) uy 12) 13) ¢ STTGIT RA ST. SITS ITF FT FT TTA. 1) 6) 6 SITAR ATI WA ITA AT TM) i) 18) 19) CAA ITI NITRA WD AT 20) 2) 22) FITI AT) WITTE NIT ATT 23 24) 25) 26) ) a4 can 2 IBRD iP OR aa a 27) 28) 29) 30) 31) CRS GR i aNc 2386 31 R8 (R8) » 2) i.) ASR Oy) AFR) ly Q FR SF I 3) 4) 5) ARTO SALSA 6) 7 AL_ATLARIT LSA A | mun Lf. FRILL Il 1) 2) 3) 08S FIT TA Ia TS ‘ESRI 3103 AS Rao 7) 8) 9) ee Pe ee ee) 10) » rt) aSTTIITRIIT TAT IST 14) 1) AVIA WaT omimma 18) eg ro TIITIIIT I SIT) 20) 2» “eo Oa mM 32 oc 2356 NINE-NOTE RHYTHM PATTERNS » 2 3) wBINIM MIMI Min mmm 4) 5) 6) ee eee eee ase 7” 8) %) TAM CAM AmM i na 10) nm) 2 AAP UIQ Ranh 13) 1M) 15) i] FRAP GRR OG OBA 16) 17) 18) Wl PFA AS ia 19) 20) 21) FRA PR OBR OMe 2356 33 R9 (RB) » 2 3) Ba Mmimmamimmm 4) mimmimmmimmm 7 8), ——________, tun oO FRA FR a 1) 2) 3) 4) o§ SAARI A | aa AAT 5) 6) 7? 8) Frei nA) || SSS TAT TT A TTI 10) 9) a) $F TI PR OST ITSPRITI| 12) 13) 14) FAM) SUT IT TT 16) 7) 15) 288 CTT IUST ATT TT) 19) Ta ITU i TU PT 2a) 22) a2g28 7: Wid Tin piTlrml 23) 24) es eo oe amc 2356 TWELVE-NOTE RHYTHM PATTERNS R12 »v 2 3) M0 DN ANTALARO OFAN FARR 4) 5) 6) OAR Minna ipamn ») QDR ADH, 10) 11) 12) Jao mois 13) id) 15) J OFA AA Re 1 PRR) ARTS 19) 20) 21) JO am ice JR 1) SS ism Dl OG) HARON, amc 2356 35 (R12) 28) 29) 30) ?h SS RS r See i am [SR |RSS SRR ==. chi) SHaRT 57) 58) 5 FA) SSR) Se 36 omc 2356 Note: The preceding patterns J ST) ATT can be played J STI E ID FTF can be playea F. FFL ) ot TTT 4) é rePrrr 7) WT adae Deas 3 3 a 4 TINT) 13) mmmm 16) IVIL. » 98 TAN FTA ‘FERRITE can be varied by substituting dotted notes: 2) 3 PerePrrerrer|) FFTTTTTITIT 5) 6 | TAT Al 8) 9) | FATT Te ny 12) MMT ammm 14) 18) nmammmnmmm 17) 18) NWT ammm JSR SS So 8 TTR | 8) 9) 10) FTL FAG FAIA IDR GG 6) 7) TFSI TS SST 37 (Ri2) R16 y 0400 FRA DRS 1 IF 7 T] FRRAATAIH 9 3 5 6 Ol ST FIFRA FR » _ eeeee ° 5 TTT ATH 13) 2 7 AARP a eee 15) = = ' O71 FR FRR FR 7) 19) . FTA ATI AP 38 SIXTEEN-NOTE RHYTHM PATTERNS FAT FRAP 4) AHI FIT 6) FARA 7 1) FTTH ITT IF e 5 3 6 FITTI IT L770 ATT 16) 18) 20) a eee amc 2356 2 22) (Ris) 23) 24) AR Ss 25) 26) 2) i Sa SA | Se | | 28) 29) 30) Sep S35S | SSR | 3) 32) 0 SS SS SS OS 33) 34) 35) NaS) S| eee 36) 37) 38) 39) 40) 4) 42) 43) SSS on | a Re | ame 2356 39 (Ri6) » Won SRR RIS SR SSSI » 2) TO FARRAR AA AAA 3) rhohraechemin hh mae Vo rh sBesnistachos mm ) OER ema ERA ase. a 35 oo (ana LAPSES aan M4) TT FASS Re 35 WHS aS FT TITRA 40 omc 2356 Ivan Galamian Frederick Neumann Volume Two DOUBLE AND MULTIPLE STOPS in Scale and Arpeggio Exercises Catalog No. 1.2562 GALAXY MUSIC CORPORATION 1 division of Contents PART ONE: SCALES 1. THIRDS ‘A. Diatonic Consecutive Thitds ..........++-+ 2 B. Thirds in Disjunct Motion ..........+. 13 C. Chromatic Minor Thirds 4 D. Chromatic Major Thirds s E. Whole Tone Seales Ss 5 F. Alternating Thirds with Open Strings. . 6 G. Extensions booodoccece 6 UL. SIXTHS A. Diatonic Consecutive Sixths . -7 B. Sixths in Disjunct Motion = ol C. Chromatic Minor and Major Sixths ..- 2 D. Whole Tone Scales 13 E, Alternating Sixths with Open Strings 213 I. OCTAVES A. Diatonic Consecutive Octaves old B. Octaves in Disjunct Motion 1s C. Chromatic Octaves .. 5 116 D. Whole Tone Scales . 7 E. Aerating Ostae with Open Sings 7 F. Extensions ........ 7 IV. TENTHS A. Diatonie Consecutive Tenths 18 B. Tenths in Disjunct Motion ...... 18 c. Chromate Minor and Major Tet. 19 D. Tenths and Octaves Combined . “19 V. FOURTHS ‘A. Diatonie Consecutive Fourths . B. Fourths in Disjunct Motion C. Chromatic Fourths .. FIFTHS A. Diatonic Consec ive Fifth... 2... eee eeees ee B. Chromatic Fifths. . 2 VII. _UNISONS ‘A. Consecutive Unisons. 23 2B B. Disjunet Unisons. . ‘VIL. SEVENTHS ‘A. Diatonic Consecutive Sevenths poocuoCoRECo0 cee BB B. Sevenths in Disjunct Motion : 23 IX. DOUBLE HARMONICS A. Scales in Thirds. X. TRIPLE STOPS ‘A. Diatonic Triple Stops in Consecutive Motion... : 28 B. Diatonic Triple Stops in Disjunct Motion... : 26 4 PART TWO: ARPEGGIOS I. OCTAVES (Parallel and Fingered) ‘A. Major, Minor and Diminished Triads .. B. Augmented Triads .. C._ Diminished Sevenths a D. Dominant Sevenths and Inversions. . I, VARIOUS INTERVALS ‘A. Triads in Sixths and Fifths. . B. Triadsin Thirds and Fourths. C._ Triads with Passing Tones in Various Intervals . D. Augmented Triads in Sixths E, Diminished Sevenths in Various Intervals . F. Dominant Sevenths in Sixths and Sevenths II, TRIPLE STOPS A. Major Triads B. Diminished Sevenths . C. Fourth Chords... IV. QUADRUPLE STOPS A. Major Triads B. Diminished Sevenths - Bese ol 32 aed 37 37 38 eae Preface ‘The second volume of Contemporary Violin Technique deals with double and multiple stops by way of scale and arpeggio exercises. Together, the two volumes are intended to serve as efficient tools for building a technique to master the violin repertoire of the past and present. In the first (Scale) part of this volume, most exercises are written in C but contain the note “Practice in all keys.” In many exercises, where crucial technical problems are at stake (such as scales in thirds, sixths, octaves, etc.) it is important to follow this instruction conscientiously. In other exercises, though, a smaller number of keys might meet an individual's need. However, those who want to get the maximum benefit from this book are warned against limiting themselves to the written key alone. By so doing they will severely handicap a balanced growth of their technique. ‘Where alternate fingerings are given, above and below the notes, care must be taken not to interchange them. Both should be practiced and new ones may be devised. [As in the first volume, the notes are printed as unstemmed heads to facilitate the use of bowing and rhythm variants. Double stops, by their nature, require fewer bowing and rhythm patterns than do the single stop exercises of the first volume, However, the introduction of a few patterns is highly beneficial, once the exercise is mastered in its simplest form. The patterns add a new dimension of technical challenge and besides minimize the danger of mechanical, unthinking repetition, which is the chief cause of wasteful and inefficient practice habits. ‘The exercises are arranged in groups of either 6, 8, 9, or 12 notes. In order to avoid needless repetition within the text, the basie Bowing (B) and Rhythm (R) patterns for each of these categories are listed here: Groups of 6 notes: ®AA AA DIT Tif) 1 ® UF. ana Wari IT44 ® fT CO ATA ® Oy Fly Dy OT Tn NADA er RTT TST ST IT) STITT Groups of 12 notes: » ID Ty TT I AN An Aa » SR ay AD oT oe For further variants see Part II (Bowing and Rhythm Patterns) of Volume 1 of Contemporary Violin Technique. The following examples, as listed in Bowing and Rhythm Patterns, are all theoretically applicable in this volume of double stop exercises. BI, B2, B3, BG Groups of 6: RI, R2, R3, R6 BI, B2, B4, BS Groups of 8: RI, R2, R4, RB BI, B3, BY Groups of 9: RI. R3, R9 BI, B2, B3, B4, B6, B12 Groups of 12; RI, R2, R3, R4, R6, RIZ In practice, however, only the simpler of these patterns will generally be found useful; and the teacher or advanced player will hhave to select ones that are suitable for a given situation. The exercises, though generally on a rather high level of difficulty, need not be forbidding to the less advanced player provided one approaches them by preparatory steps. One such step is to separate the notes of the double stops before playing them together (the first exercise of the book will serve as an illustration): Another approach is to practice a small section of an exercise first on one string, then on the other: 1 all 2 $1 7 Following this procedure, one should finger the double stops as written, but bow only one string at a time. This method is ‘especially helpful in discovering the causes of poor intonation and in detecting flaws in shifting technique. Finally, all exercises can be played in continuous alternation of the strings, be it slurred or detache, starting from either below ex) or above (ex. 2) inthe triplet versions ofexs.3 and 4: et ex 2 ex 3 rad ° A aa 2 : 3 HE =F ——T ——m—"" —— ra ‘The gratifying reception accorded the first volume of Contemporary Violin Technique encourages us to believe that second volume will also be useful to teachers, students and advanced performers of the violin. Ivan Galamian Frederick Neumann Table of Symbols Symbol 1,11, II, ete. DAE GDA 3}-————_ 1 1 a | oF _ 1 LK — Definition Ist, 2nd, 3rd Position, ete. Des ynation of strings; ile letter stands for the upper string. Stay on the same strings. Continue with the same finger(s). Keep the finger(s) down, Reach up. Reach down. Part One SCALES Po I. THIRDS A. Diatonic Consecutive Thirds Groups of 12 notes (See preface about bowings and rhythms.) Practice in all major and minor keys.* D} oe i hed he > h » I » i @) 1 2 SB4S 4554845 >a) sis. ¢. For example: B major F minor (harmonic) © 1977 by Galaxy Music Corporation, for all countries, GMC. 1.2562 4 division of ECS Publishing, Boston, Massachusetts. Printed in US.A. I/A/2 1 2 3 4 ; 2 1 2 oa D () g Groups of 8 notes Practice in all keys ae= e~ i ll#es Iieew * pean 6 1 Practice in C, F, G, D and A major, 4 eon ie leer |e i” mew * 9 : 2 B. Thirds in Disjunct Motion Practice in all keys 2 iA 1 i 1 2 1 1 segs3 : z. | | yoo 1 a D GMC, 1.2562 ao] 4 /c C. Chromatic Minor Thirds Groups of 12 notes D only 8 yoda dad Two Octave Seale 1 1 1 1 3 vs g sis 2 > 0) A PG 8b 1 258 $2 hed yi i ins GMC. 1.2562 I/D D. Chromatic Major Thirds Groups of 12 notes Bens } Two Octave Seale we 2 1 Se] Statbigibtetinerion ds 44 Cie E. Whole Tone Scale Groups of 8 notes Pls i 1, dug seis : iS isin GMC, 1.2562 6 1/F F. Alternating Thirds With Open Strings Groups of 8 notes Four different fingerings are given. Each may be applied to the whole exercise. Practice in C, F, G and D major and their relative harmonic minors. 1 3 1 = 1 3 wer +r rT Fe OT OU hl hl UU TU UU ¥ Qonty ony, of Bony 7 only 5 2 4 § § F bog gy Blige ME Megs S02 2) Sues eres eres: 3 eo Ean? Aon G. Extensions Groups of 6 notes aq 3 wa This exercise may be % Keep Ist finger down through each measure. coer ata hehe positions. Scales in one Position Groups of 12 notes E Practice in all keys. ' Pond 1 301 i af 1 eee : 3 i Dona : 3: This exercise may be continued into higher positions II. SIXTHS A. Diatonic Consecutive Sixths Groups of 12 notes Practice in all keys. only Ce 82g 3 ii ees eo dattetes, oy Practice the preceding exercise also with the following fingerings: 2 ee 43 ‘ 2 H 7 $3 euc 1 9569 segue 4 see 3 3 segue 8 W/A Groups of 9 notes Practice in all keys. eoccoc4 A D 3 2 Although the above fingerings are usable for all the keys, other fingerings are better adapted to the needs of any specific key because they avoid the oblique movement of fingers from one string to the next and thereby result in a clearer articulation. The principle is demonstrated in the following three major and three minor keys and may be applied in analogy to all others. al 4 2 i}fe. 4 3 2 4 2 S063 aE do 4 GMC, 1.2562 =H] W/A minor i GMC, 1.2562 10 n/A uw Groups of 8 notes B. Sixths in Disjunct Motion Practice in all keys. 2 2 GMC, 1.2562 2 n/c C. Chromatic Minor and Major Sixths Groups of 12 notes Chromatic minor sizths on two strings ( six different fingerings) sete jin vie Ee site Chromatic major sixths on two strings ( six different fingerings) Dealy ic $2 2 seque GMC, 1.2562 B n/D D. Whole Tone Scales Groups of 8 notes ing Sixths with Open Strings ti Alterna Groups of 8 notes Practice in C, F, E. and D major and their relative harmonic minors; six fingerings are given and each may be applied to’ the entire exercise. ond onais) engi =n idl $i onalt GMC. 1.2562 uw lil. OCTAVES ic Consecutive Octaves ton A. Dia Groups of 12 notes Practice in all keys. GMC. 1.2562 “Fingeret tat se B. Octaves in Disjunct Motion Groups of 8 notes Practice in all keys; four different fingerings are given and each may be applied to the whole exercise. BR only 2 ‘44 segue ee tot te%,e,e we oe segue = 3 i - 3 i GMC, 1.2562.3 ne “Parallel” fingerings with Hor 44 may also be used C. Chromatic Octaves Groups of 8 notes B only ‘34 4 segue id 1 rr i 7 3 a 3 i segue 2 2 segue GMC. 1.2562 a m/D D. Whole Tone Scales Groups of 12 notes 3 a 4 2 wed K E. Alternating Octaves with Open Strings Groups of 8 notes Practice also in F, G, and D major; each of the five different fingerings can be applied to the whole exercise. @ S 4 segue ane - - = a i a a 3 vr i = a i oP oi a 2 + ¢ + 2 y +@ 1 2 1 2 9a 2 4 F. Extensions Groups of 8 notes Practice on other strings as well Saf 4 UT oaa 4 1 pres we 3 8 fa 4343 fys ee 4 4 434 4 4 4 4 4 zizgizizi $324 3333 abie dies tean? 232323 23 4 dseeve stad. ata : sat OTe Keep first finger down; third may be lifted GMC, 1.2562 ® IV. TENTHS A. Diatonic Consecutive Tenths Groups of 12 notes Practice in all keys. Dp Ronty 4 1 4 segue 1 SEM pogo ontetasg 1 ower’ 4 D 4 R 5 +. Dd D A D $$ seaue B é G » A R atete 28 tate kee? — £. ®), as atten, 22 ——— Groups of 8 notes Practice also in A, D, G, F and a 34 0 i oleae # B. Tenths in Disjunct Motion Groups of 12 notes Practice in all keys. 1.2562 Iv/c C. Chromatic Minor and Major Tenths Groups of 12 notes D gay 34 ai be. obo. Qa xO D. Tenths and Octaves Combined Groups of 12 notes Practice in all keys cy) V. FOURTHS A. Diatonic Consecutive Fourths Practice in all keys and on the other strings. Groups of 12 notes D, only 1 2 rea 2 1 2 2 23 pag ond ca 1 2 - 2 3 segue 3 1 2 3 segue 45 B. Fourths in Disjunct Motion Groups of 8 notes Practice in all the keys. ‘ ay 1 1 33 seeue te fe ten o> poy GMC. 1.2562, aL v/B C. Chromatic Fourths Groups of 8 notes D G ee segue GMC, 1.2562 FIFTHS VI. A. Diatonic Consecutive Fifths or ~$9) oq $191 312 bee oz 1 233 feeers 0 1 pba ses 3 4 -e Groups of 8 notes Chromatic Fifths Groups of 12 notes B. segue GMC, 1.25623 VII. UNISONS A. Diatonic Consecutive Unisons Groups of 12 notes Practice in several keys. 00.20 2 00 oe. a ry D G D @ B. Unisons in Disjunct Motion Groups of 12 notes Practice in several keys. VIH. SEVENTHS A. Diatonic Consecutive Sevenths Groups of 8 notes Practice in several keys. A D ITs ii rob i z Ri oi’t p2iry it 4 2 b B. Sevenths in Disjunct Motion : Groups of 8 notes 7 oo 4 4 4 1 4 $ soa ft $b bg gk te te F2F E A 5 A GMC, 1.2562 Ix. DOUBLE HARMONICS A. Scales in Thirds Groups of 8 notes (Sdn py pitch ® t+ #£es q 5 Ab major GMC, 1.2562 X. TRIPLE STOPS A. Diatonic Triple Stops in Consecutive Motion Groups of 12 notes Practice in all keys. Sample bowing patterns: 1 2 Bo et bang — 83 a f a= a) nop : 2 segue it 1 4 segue © tt Ie | ne ie | I i» * > ree a PF segue $ 33 cl 3 i GMC, 1.2562 4 2 segue E A D lw ~ i jan: ££ 10 1} seue 4 # The two fingerings may be mised: use the 2nd finger when the major third, the 3rd finger when the minor third is on top E A 1 o2t Ste segue 2 toss sie . jw SHtESE PESTS S 2s c 11 oe o> 2 3 segue i B. In Disjunct Motion Groups of 12 notes Practice in all keys. A Dy, ¢ Gee 7 o oo oaacaae ‘ 1 3 Ib Ie Ile Ip p \* Is b p le le 6 GMC, 1.2562 Part Two ARPEGGIOS I. OCTAVES (Parallel and Fingered) A. Major, Minor and Diminished Triads Groups of 12 notes Note: In the upper fingering of this exercise as well as in all of the parallel - octave exercises, the third finger may be substituted for the fourth E segue segue GMC. 1.2562

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