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    325 views20 pages

    Dounis Preparatory Studies Op. 16 Book II Fingered Octaves

    Uploaded by

    d_marzoli

    Copyright:

    © All Rights Reserved
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    DEMETRIUS CONSTANTINE DOUNIS PREPARATORY STUDIES In Thirds and Fingered Ocraves on a Scientific Basis, Op. 16 jook II: Fingered Octaves CARL FISCHERs {65 Bivona Spee New YOR. FY 10012 Copyng © 1626 y me Sas. This sation Gopymgit © 2008 by Can Fist, LLC. Iresrallonsi Copyright Secwed. Allis weerwadinchedng rae perience tae pre. 187 OOo! Q FOREWORD ood In the first book :. “Preparatory Stvpres 1x Turens,” I nave remarked that the playing of -fingered-octaves is based on the same mechanical principles Ss the thirds—“with the exception of 2 aiferent setting of the fingers The one and only difficulty of fingered-octaves is the stretch of the fingels + in every othne respect they are—cmtrary to the general belief much easier than the thirds. The reason is that the setting of the fingers ig less difficult im Angered-octaves than in thirds, and that both fingers stop always the same interval, while in the case of thirds—excepting chromatic passages—there are major and minor intervals. We have no better means of promoting a correct position of the left hand than the practice af the thirds; while the position of the hand required for fing octave playing is hardly beneficial to the average violinist. | However, the enormous benefit to the fingers—on account of the stretch —from fingered-octave playing should not be overlooked. ‘Violin players, therefore,—especially those with a faulty position of the left hand— are cautioned to proceed in the practice of fingered-octaves very slowly,—as such practise may encourage this fault—and, to counteract any such tendency or effect they aré advised to practise thirds immediately after fingered-octaves, Violinists with a good position of the left hand may to a certain extent disregard the above advies, but, in any case, it will produce most satisfac ‘resuits, having the advantage, while continuing to play, of relicving hand from any tension which the stretch may have occasioned, It is essentially important that the following exercises be practised conscientiously, thoroughly and patiently. After the practice of these Studi the player will be thoroughly pr te overcome, with astonishing ease, © any difficulty which may arise from fingered-octaves; he will feel perfectly C “at home” im playing any Kind of fngered-octave passage, | In addition, his a hand .will be, although indirectly, well prepared to begin, later on, the study 0 of tenths. G ‘As to the bow, the tenefit derived from the’ study of the first book : se “Prepawatory Srepims mm Tureps” will, through the following studies, be O farther established and increcsingly evident. = THE AUTHOR, Oo oS * Full explanations about the two fundamental settings of the fingers are-to: be cb) found in my book: “Tse Vioumisrs Day Dozen" oO oO G re C 0 o 188 DIRECTIONS FOR PRACTISING ‘The mest important rule to observe in practising the following exercises is: Nor 1 arse ACHINGER FROM THE STRING EXCEPT WHEN AnsoLUTELY mecescaRY ‘This role should be strictly adhered to. Each exercise should be practised diligently until fully mastered. a The exerdices which da not contain any change af position are written in the frst position ‘only; but, they should be transposed and practised," in absolutely the same way, in all positions. according ta the degree of proficiency of the player. “Except the exercises where am open string is used. The exercises which necessitate = change of position are written so that the shifting occurs between the first and third positions. These exercises, toa, are to be transposed, and practised in such a way as fo connect not only the first and third, ‘but all positions. How ths | should be dane is explained, with illustrations, later an. os Rhythm plays a most important part in the study of technical exercises; the best wa to overcome a technical difficulty is to practise it with thythmical variation ¥ All exerelsss eortained in this book, with the exception of Chapter I, should be prantised with > ‘the following shythmicel variations, from (@) to @). } Exercise @ a) of Chapter TE is used es ilustration a ere > aor FOdO EXPLANATION OF SIGNS 1. § string. . A string. Til. D- string. TV. @ string 3 This sign: SFIS indicates the simuttanvous placing of the finger on two strings, stopping a fifth, 7 2 ‘The notes written thus: |S") shoull be stopped and held down Firmly with tho fingers, thot deing sounded with the bow. if 190 t ee. APA PU @ cctising the stretch, is to avoid carefully ;— any stiffness, rigidity or contraction of the muscles of the left hand. The ability to stretch, pe) depends mainly upon the flexibility of the muscles ; and, such fexibility can only be develaped Sy, if the muscles are in a supple condition; otherwise a cramped condition will be the result, a @2 continuanee of which, will defeat the ambition of many 2 violinist, as it has done in the past.“ The next point to observe is to proceed in the practice of stretching exercises with the ¢-? greatest possible care and attention. Tt must always be remembered that the slightest fecling ‘> Of fatigue or pain should be regarded as a sign that the muscles are no longer im a favorable C1 condition to continue the practice. A few minutes of absolute rest and a of the entire arm from the shotlder, to stimulate the circulation of the blo: muscles to their normal condition, and the practice may then be resumed. ous shake-down > will restore the At the beginning, the period of practice for such exercises should jot excted five to ten minutes a day. ly the time may be extended to fifteen minutes a day, which, however, should be the maximum. The exercises are divided in two parts: [Al and [), the exercises of part Bl are based upon the vertical or falling movement of the fingers ; those of part [B] mpon the horizontal ( or side movement, The reason why stretching exercises do not, usually, produce the expected \_) results, is that they are practised with the one or the other movement. Positive results can >, ‘only be obtained if they ara practised with both movements alternately. The player, therefore, — should practise daily one or two exercises from both parts, [A] and BB] pris * 191 Tt is advisable to practise softly and with free use of vibrato, to counteract: any tendency to rigidity or stiffness. o PART [A] vermcar on FstiNG MOVEMENT. = FIRST FINGER a) toro r01oiaioro1OrS 353" 3 Se gg ee we ee 1o1otesoto saratoito bi} ba toro 0404 010404010 e) 101g borg oie jaioro BABS Se el Se a we ade ek f) 1010 194040 fit) oe e STi eio te teia to tore gy zy } 10 101040 . ©) faayd d a, 0,1 9 10 oro 289) = a) by, ¢ t0s0 101asaivioro £010 to10rototoro as = i ll a) otora 1010 1e4n1e1g1oig a Be, SAP Ate setoto e) toro porotroroioio f) tote 103910101010 2 L 2 te | etstete et etaes 205 ; 4) Ps ote tesa PH Bs \eiptl

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