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    Dounis Absolute Independence of the Fingers Op. 15 Book I

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    84 views21 pages

    Dounis Absolute Independence of The Fingers Op. 15 Book I

    Uploaded by

    d_marzoli

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 21
    DEMETRIUS CONSTANTINE DOUNIS THE ABSOLUTE INDEPENDENCE OF THE FINGERS In Violin Playing on a Scientific Basis, Op. 15 Book I: The Absolute Independence of Three Fingers a CARL FISCHER» {8 Booster Soar Now York, HY 10012 GUO ia NDE 4 TS csian Copyright ©2005 by Ct Fetter LC. tverasnal Corn Seamed Ar oohe meee ecsing pic perenne tr wos OU! oe or FOREWORD. The ability to move freely a finger or a group of fingers according to the impulses of the will power, and without any sympathetic movement of the other fingers, is ELEMENTARY INDEPENDENCE. ABSOLUTE INDEPENDENCE is the ability to move two or three fingers or groups of fingers, but in a FUNDAMENTALLY DIFFERENT WAY. As I have, already, said in my method *The Artist's Technique of Violin Playing,” there are four movements of the finge I THE VERTICAL OR FALLING movement (till), Tl. THe Hortzonra: on sipe movement (stréteh, chromatic passages) TH. The movement from cert to eichT (leftthand pizcicato) TY. The movement from micut to Lert and vice-versa (Chord- playing). To acquire absolute independence of the Singers, not only cach one of the above four movemerts must be thoroughly mastered, but one should be able to execute AT THE same TIME two, three or all four movements, ‘This is obtained through a mental process only, The active co-operation of the brain in such exercises is imperative. Any socalled finger exercise for obtaining independence, which does not require mental co-operation, is worth- Jess and it is absolutely impossible to produce lasting results. The object of the following Exercises is the absolute independence of the fingers by combining all four movements. They are of such a nature as to demand constant mental activity and the utmost concentration of the ‘brain. It is impossible to execute any one of them while thinking of something else. I could define the independence of the fingers as MENTAL DISCIPLINE over the fingers. The results obtained thraugh the practice of these exercises are striking. The most unimaginable finger combinations become but child's play to every one who has practised: them carefully according to the directions, and they will open new fiekis for dazzling technical feats. THE AUTHOR. DIRECTIONS FOR PRACTISING First of all avoid any stifiness in any part or of the arm, hand or Vibrate as and as often as ja free vibrato being the only real test_of and using the left arm, hand and fingers in a eomrect way. "AS soon a8 a fired sensu ‘or a slight pain is felt in the hand or fingers, the playing must be stopped at once resumed only after a few minutes, usually two ‘or three, during which the arm should in a state of complete relaxation,’ so as to help restore the circulation of the blood to normal condition. H p wae The following Exercises should be practised daily from fifteen to twenty minutes. To obtain the best results in the shortest possible space of time, the following method of practising is recommended: each Exercise should be, at first, analyzed and the different mavernents practised separately. Afterwards the movements should be gradually combined and practised simultaneously. EXPLANATION OF THE DIFFERENT SIGNS. The notes written thus © should be stopped and held down firmly with the fingers, without being sounded the bow. 3 ee wurety, in the same way as if the notes were sounded with the bow. A line after a note = : ) means that the finger stopping that mote should slide to the next one, without being Hfied from the string, This sign © indicates the left hand pizzicato, and the number below that sign shows the finger which should pluck the string. Ex. Modification @) of the rst fundamental Exercise: * * For convenience of reading all Exercises included in this Book are written on two staves. Before attempting to practise the above Exercise as it is written, the Player should proceed to practice it in six different ways (a to f), a5 exemplified below.’ This is to enable the player to test and control each movement separately and to combine ther gradually until all four movements are performed simultaneously "® ase O00 Oro aos re = 5) All Exercises contained in this Béok should be analyzed and practised in the same way as directed above. oon wud There are only four FUNDAMENTAL EXERCISES contained in the present Book. Fimst Exercise... ist, and and 3rd fingers: Active. 4th finger: Passive. Secon Exercise. + | rst, and and 4th fingers: Acrive. 3rd Passive. Tuinp Exercise . . . rst, 3rd and 4th fingers: Acrive. 2nd finger: Passive. Fourrs Exskcist. ©) nd, 3rd and 4th fingers: Acrive, 1st finger: Passive. To understand clearly the plan of this work, and in order to help select the Exercises for the daily practice, so that all firgers may derive benefit, the following explanations are necessary. Each FUNDAMENTAL EXERCISE permits 19 MODIFICATIONS Which are written in. progressive cecder and membered 5 10 39, Each poe of hone woowicavions, which, by the way" forms ‘an independent exercise by itself, showld be analyzed and practised as cxemplified’ above for opiricaTion (1) of the FIRST FUNDAMENTAL EXERCISE. Futhermore, there are added TE siwpre VARIANTS to each fundamental exercise, which in tum should’ be considered as FUNDAMENTAL EXERCISES and be subjected, every onc of them, to all x9 mopirications in the same ‘way as the FUNDAMENTAL EXERCISE. _ To promote and develop the fourth movement, from RIGHT to LEFT and vice versa {chord-playing), 23 BAS VAEIANTS are appended’ to every fundamental exercise ; their object to vary the setting of the fingers on the strings. Each one of these Basic VARIANTS should serve as a substitute to the fundamental exercise and be practised accordingly. To explain better -— ‘After thoroughly practising the Figsr FUNDAMENTAL pxERcISE with all its 19 Mopipications and all SIMPLE VARIANTS, every one, too, with 19 MODIFICATIONS, then the FinsT FONDAMENTAL EXERCISE, having been exhausted, should be substituted by the mastc vaniawT (2), Which will take its plaice and be practised as the figsT FUNDAMENTAL EXERCISE with 19 MODIFICATIONS and I SIMPLE VARIANTS, The above should be applied to all FUNDAMENTAL EXERCISES. These Exercises are intended as a lifetime study-companion to every violinist They are to be practised patiently, end without any haste to finish the Book, for they are not the Kind of Exercises ‘to be studied once and then put aside. Any violinist, from the most humble orchestra player to the finished artist and all pupils, except beginners, will derive extraordinary benefit from the study of these Exercises. And, let it be said, that those violinists, even the most distinguished, who consider themselves to be 0 musical, that their exizeme musical sensibility does not permit them to practise technical exercises Bret Stu the ones who practice them most, without acknowledging # for cbviows, reasons, ‘A careful and daily practice of the following exercises will develop the strength, solidity, euréty, pliability and ionovatiry of the fingers of the violin player in such a phenomenal degree of perfection, that all difficulties inherent to the left hand technique, teil automatically cease t0 exist-—iith the only exception of Shilting which i= treated im = separate work. 91 ‘This Book—the first—treats of the absolute independence of three fingers. As we have only four different of fingers—hence four fundamental exercises—the best and most advantageous wa the exercises is to practise four different exercises a day, sach one from a different group of fingers. Ex. First FUNDAMENTAL EXeRcise: MopmricaTiox (1) - ‘Seconp FUNDAMENTAL Expneise: MonIrication (3) | To be practised together the ‘Tain FuxpamenzaL Exercise: Mopirication (1) | same day, Fourti FunpaMEntaL EXERCISE: Mopirication (1) | ‘The Exercises thus selected should be practised for so many days until t co-rdination of movement and a fluent and easy execution are assured. Then, and only thea, new exercises can be taken up and practised in absolutely the same way. The usual recommendations to repeat each exercise many times—no definite number should be given as this varies according ‘to individual requirements—and to alternate slow with rapid’ tempo, should be. applied here as well. Wherever possible legato bowing should be used. 93 FIRST FUNDAMENTAL EXERCISE tot, nd und 3rd fingers: ACTIVE. 4th finger: PASSIVE. we F 7 ntl stall NINETEEN MODIFICATIONS. = Dyyeses oss On a Bp, , ; i ai tall 35 ELEVEN SIMPLE VARIANTS. To be practised, each one, like the NINETEEN Moprricams0xs of the Fins FUNDAMENTAL EXERCISE, @ @ @, Oy 2) * aE r » =H Has aL w ota ® Qy ee soz 030302303 — i ae yh = wel ai 4 we i ae aad Aas 8 ore ae we Me se ae a rr “ we @) hasexee” Qiimesesss QO asseeeiss im SECOND FUNDAMENTAL EXERCISE ¢ dot, Bed and Ath ingens: ACTEVE. Or flager: PASSIVE. & NINETEEN MODIFICATIONS, ® Op vevvsere® ® + F <7 a] + —— + 3 tai 7 2 CARs e ELEVEN SIMPLE VARIANTS. To be practised, each ano,like the NESETeEN MopIrrear ious of tho SECOSD FUNDAMENTAL EXERCISE, 98 © (HASESOIASESEOS (7) 0494040 404040104 ® sir 020202020 20a0202 ' $5 0 7 6 a wee # © aie ® odototorosoiosos ® 04040404 04040408 THIRD FUNDAMENTAL EXERCISE 4st, rd and 4th fingers: ACTIVE. 2nd finger: PASSIVE. 4 aid ? HL Hel AL NINETEEN MODIFICATIONS. all “a otal aoe aaa —i— 1 © Fan tee [fine 7 Tht L [fee Tet | ; wits {lines qs Tet mo I Tile he fe || he: i. tte. @ 5 TTR * [ee 7 : - TInt 1 3 ire ee 3 || ier betes y be 5 Hirer . oN tt ofoe oa Oo 8 T as pote 2 — : es o0aaa 03 BLEVEN SIMPLE VARIANTS. \To be practised, each one, like the NINETEEN Moniriogrions of the TumRD FunpaweNtal. Exgnerse. ey O4o4 Os o4 O46 4 oto 4 * ; t 7 7 ® 2a 04 ots osogoaon g i ® Osos or oa ososasog FOURTH FUNDAMENTAL EXERCISE nd, Srd and 4th fingers: ACTIVE. 1st finger:PASSIvE. eee ——s =: to i pee eee a TSS TT TT Tr TTP

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