Practical Method for the Violin BY NICOLAS LAQUREUX PART II The Positions Violin “methods” generally pass from the first position to the second, from the second to the third, and so on in numerical order. ‘To go directly from the first to the third position seems simpler and easier. Later, the pupil will find second position between the first and the third. Moreover, this manner of proceeding will allow us to begin, at the same time, the highly important study of the shifts. To learn the fingerings of the positionsseems, at first, to be the difficult point. Yet this is only a matter of memorizing figures Take a pupil who already knows his positions, and give him a fairly rapid slurred passage going fromone position to another. The difficulty which he will encounter in playing it will be precisely in the changes of po- sition which we call “shifts.” To forestall this difficulty at the outset by numerous exercises in shifting,is absolutely indispensable. It is important, in order to shift easily, that the pupil should hold his hand well out, and especially avoid resting it against the edge of the violin when arriving at the third position, and leaving the thumb bent round the bottom of the neck. This would cause a displacement of the position of the hand,and would la- ter render the shift from the third to the fifth position very awkward. In both the 15 and 84 positions keep the thumb opposite the first finger. 1position 3pos. pos. 34 pos. 34 pos. 4 4 4 12 12 I pos. a 12 4 4 position 1*¢ position 34 posit Aerie) — a a4 position I te Ve Is position 4 positi 18 position Btposition —& 4 position; Sivospiong sag ye 8 Ni positon ps "posi 1 position 1*position 4 eve Scale of C major in the 3¢ Position _Stposition Preparation ee - 7 a x22 an aR ies ef34 position 1 34 position 4 8 B*position = —3 34 positionEtude in the 84 Position Grand détaché Moderato 10Exercise in the 34 Position Use the whole bow, the fingers striking firmly. Moderato 4Exercise in Going from the 1* to the 34 Position Shift with the open string. The thumb opposite the first finger. When shifting, let the hand slide lightly without pressing the neck. 1st and 3¢ Positions Andante aI 4 dolceScale-Study in the 84 Position 1 4 The pupil will have to practise the following exercises until the prssage from the 1** to the 3¢ posi- tion becomes quite easy with any finger. 4444 2222 3339 aARS go8a5 2222 yay 08 Changing the Position with Two Different Fingers toa? 2 The portamento must start from the first note, ie.the finger of Example ‘=| that note must reach the higher position before the one of the se- of + cond note touches the string. The teacher will perceive that the small note is meant only to in- djeate the movement of the finger which operates the change of pos- tion;analyzing the exercise as below, the pupil will see the utility of this system for obtaining a proper portamento. 2 1 Example’ W.B, The small note should not be heard Play each measure 4 times 41 Lt a2 3s bert Ze iat 3 + re 8 at 2 488 hee = ey # +té EN Keep the 1 finger on the string. A i 1 12 3 ata a: (MELODIE Exercise in Shifting Without sliding the finger along the string Andante a. as Piit vivo a aPa tempoETUDE 1st and 3¢ Positions Moderato, largamente 4 @ tempo 4 ee SSS z 3Extension of the "Finger in the 34 Position (Harmonics) By extending the 4" finger in the 3¢ position one can get the harmonic tone an octave higher than the open string. It is marked ,which indicates that the finger must only lightly touch the string, without pressing it. N.B. To let the harmonic sound, the other fingers must not touch the string. 4 sv lew Example a Ts 4 om | lon omThe harmonic may also be reached by starting with the 4" finger from the 1% position, Let the band slide gently from 1% to 34 position, while slightly raising and extending the 4" finger. 44 4 $3 ‘ a $30 ae $4 3 z a é 4 ao 8 + é a a Andantino, 4 ; see BP a é aOn the 24 Position, lying between the 1% and 34 The preceding exercises in passing from the 1**to the 34position, having given the pupil sufficient practice in shifting, it is well now to introduce the 24 position by progressive exercises. This man: ner of proceeding will have the advantage of showing the pupil in what cases that position is used; moreover, it will make it easier to reach, as the same passages, with the same fingerings, are given in the 1t, 24 and 34 positions. 24 Position a 2 a 2 1— 4 €24 position aT 24 position 84 position * I" pee Ne Ee NY OT pi t 1 ear ey ert ft tes pig pete Ne oi p= Ne oet canteen ——o HE lars + For the sake of brevity, the position will hereafter be indicated by a simple Roman numeral (I, II, III, etc.)SERS eee Scale of G major in the 24 Position NSF NS tee ssiScale of C major in the 2¢ Position 12 ce Keep the first finger on the string. nm I ° . = Study in the Five Positions Moderato-Sostenuto AY ag ez . 2allargando Exeréise in the Five Positions, ao. ort4th position ont 5 position 1 ea. ar —_ ETUDE ON THE MARTELE Moderato ann i aana martelé wg ¢ eaeSTUDY IN THE FIVE POSITIONS Oe te S tet.STUDY IN THE FIVE POSITIONS Largamente _g_ ea ritard.ETUDE Moderato