ACONTEMPOT{ARY

CONCEPT OF
BOWING TECFINIQUE
FOR TFIE
DOUBLE BASS
By FREDERICK ZIMMERMANN

rsBN 0-7135-r8ae-5

71J
l--
HAL.LeoNARD.
c o Fr P o R A T I o r{
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Copyright O 1966 UNIVERSAL MUSIC CORP

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 PREFACE

Many of the technical problems presented in the playing cf the double bass are problems peculiar to
that instrument, They exist because of its physical structure and its manner of runing.
The most formidable problems presented by the proportions of the doubie bass are the great dis -
tances separating notes and intervals, and the excessive number of shifts made necessary by the fact tìat
only two semi-tones can be played in one position.
The solution to the problem of playing a complex, non-diatonic passage at a rapid tempo is sought in
fingering as many notes (intervals), or orders of notes (chordal), as possible in one position. However,
while this solves one problem, it creates another: it adds to the number of cross-string bowing changes.
An approach to the development of a technique relating to this particular problem is the subject of
this work.
Fingerings function as guides, outlining generalizations and "systems", to train the fingers to move
automatically in established and readily recognizable pafterns.
The fingers trained to respond to
Example 1:

Allegro

along the contours of thr: fingering pattern

Example 2:

- T,;1
Allegro

or

will rlri s{i;r.-j ;r reflex in whaterrer context this figure may occur (Mozart, Beethoven, Brahms, Storch-
Hral:e. rjt..).
Stir:Ii:r ::.,iì(ìiìtaneous recognition of anc] response to a figure does not, however, occur in the action of
tìe bow artr,. iJ;'.,.re are no precise. .guides, such as fingering indications, to clarify and make knowledge-
able t.hr: il;ttitii !,lrt: ::ìfructure of tlrc: ix.,r.ving patterns which seem to be, so to speak, woven in the very tex-
ture t;f tlt,., li,i5:,;:ri.,' i11rr:lf .
';"; r;i,: ri,r,.r
:"iìi:Ìr iii,..'.'iiig ;.;;rtl.i rfri fr',tm i-hc.ir parCicular environment or passage for feady indentifi-
cation. r rì:.,;.r:,:rti,,r. i.,rliiì,. ' . ,lr, n, rletailed study and analysis is the main objective considered in
organì.: i:ì;-'i' ,.r:ilr'r'ì.rì r,j llti:t
"vork.

( {,1)\rqht Lr l96b l '(lVLÌìSr\t \,ltlSIC CORI,

' I . r r- lr iì.' 't.r.:rl
.iil ltÌ{hts i<cscrrctl Used hv l)crmission
 Using measures from the last movement of the third Symphony of Beethoven, the method by which
bowing patterns are abstracted is outlined as follows: The excerpt is written in the upper staff of a
pair
of bracketed staffs:
Example 3:
,r- -F-1

The pattern is written note for note on the lower staff as follows: Any note played 01 the "D" string
is written òn the lower staff, directly betow that note as an "A" in the fourth position on the "D" string:
Example 3az
;---- ^----1 i-
=1

Any note played on the "G " sfring will be written on the lower staff , directly below that note as an
"E" in the fourth position on the "G" string:
Example 3b:
6-
2

!!x

After carrying out the steps of this procedure throughout the excerpt, the bowing pattern will take
the form or structure illustrated in
ExamPle 3 cz
Allegro
2
r-
-=----

The bowing now has a visual arrangement, and it is interesting to note that though there are four
shifts of position for the left hand, there is but one bowing paccern; an element of four notes repeated five
times. This excerpt as well as any passage, can now be practiced in parts - the bowing first, free from
the distracting movements of the ieft hand; then the left hand shifts can be practiced unhindered by any
uncertain molions of the bow arm.
In passages across four strings, notes on the "A" string are written as an open "A"; those on the
"8" string are written as an open "E".
4
One soon notices, in examining the patterns abstracted from the orchestral excerpts in thÍs work,
how often the basic elements of the various sections occur - either by themselves or in combination with
one another. They are present throughout the entire literature, regardless of the key, style or form of
a composition.
The basic elements of each section, such as those of Section 1, and their inversions
A4BCD

should be stucliecl together with dre visual guide (graph) of each in detail , before going on to the next, since
the understancìing and skill r.'ith -vvhich one paftern is played (repeatediy) depends on the knowledge and
assurance one l-ras gained from the previous pattern, though each separate one is a new experience in
controlling the alternating movements of the bow.

The general fr:rmat of thls rvork includes a preface (the object and purpose of this work); an intro-
duction (description of tlre functions of the arm and hand, and the purpose of their functions and supple-
mentary material), and six sections.
Sections 1 to IV are subdivided into these parts:
1. The ll;rsic Patterns.
2. Suggestecl Practice Procecìure.
3. Etudes constructed on the Basic Patterns and Permutations of Their Elemenrs.
4. Bowings and Etudes Built on the Bowing Patterns .
5. Examples from Etucies. Orchestral Passages and Materials from the Solo Repertoire.
ú. Graphic Bowing Ctiar:ts .
5i r..' . t i + r, ti '
:

Patterns, Etudes and Excerpts Relating to Three and Four Strings.

Sectirrn \'l'
Borrring Drills.
'fhere are over four hundred bowing' patterns forming the main portion of this book. Though not an
aftempt ti) i:xlì.rust all tlri.r grossibilities, they serve as a sufficient basis for further study, reference,
serii.ìrls ,^r,rnsi,.1,.ri Ji:j.{rii i:r'ì{l L'-y.i)alrsion. Tlieir efficacy wili be realized in proportion to the manner in which
they are used. To have a kn<,rwledge of some is to bring a technique to the solution of a bowing problem;
to her,,.foîrrllr.'--1 .ìl rr,l,la,. js i,- l:;i.'I'thc r:.aterials of music with confidence and skill .
- ' FredeTick Zimmermann
 INTRODUCTION

There are two considerations which are of major importance in the course of practicing cross-string
bowing patterns. First, the hair of the bow must remain as close to the strings as possible, in the par-
ticuiar pattern being studied; and second, the raising and lowering movements of the arm must be kept at
a minimum.

The technique of bowing across two or more strings is a total operation consisting of three principal
parts, each part acting in accord with the others:
1. The horizontal movements of the bow arm.
2. The raising and lowering motions of the arm.
3. The tilting actions of the hand.
a. A sub-phase is the feeling of the weight of the arm. This sensation of weight
(the actual weight of the arm) is carried along the intricate motions of all
the cross -string Patterns.
Each stage in turn has its specific function and purpose:

1. The horizontal movements of the arm direct the bow in either alternate or successive down
and up-bow motions. They also serve to regulate the various rates of speed (velocity) at
which the bow travels.
2. The raising and lowering motions of the arm tilt or direct the bow to either a lower or a
higher pitched string.
3. The tilting action of the hand turns the stick of the bow toward the fingerboard in going to a
higher pitched string, and away from it in going to a lower pitched string. This motion is
auxiliary to and coincidental with the gradual raising and lowering movements of the arm, and
serves to reduce its movements considerably. Both actions operate in accord, thus effecting
smooth and facile string crossing.
The following exercises are inciuded as outlines intended to train the hand and arm to move with an
economy of motion from one string surface to another. The tilting action of the hand is valid for both
styles of bowing, except that when using the French Bow there is more wrist movement, whereas when
using the Dragonetti Bow (German) there is oblique wrist and forearm motion.
M.M.)=42

A ----97 ---gt
nl
---6r
B--- C"- D--' tl, -- H

1. Stroke t}e note "A"; pause after the fuil durational value has been realized. (A to B)
Dia.gram 7z

-t\
B
2. During the period of rest tilt the bow slowly, in the direction of the fingerboard, until the hair of
the bow finds the surface of the "G" string, engaging it securely preparatory to stroking the
note "E". (see Diagram 2.) (B to 81)
Dingram 2z

3. Stroke the note "E"; pause after the durational value has been reaLized. (see Diagram 3.)@lto C)
Dingram 3:

4. During the period of rest, tilt ttre bow slowly, away from the fingerboard, until the hair of the
bow finds the surface of the "D"string, engaging it securely, preparatory to stroking the note "A".
(c to c1)
Dingram 4:
5. Stroke the "A"; pause after the durational value has been realized.

6. Repeat the steps as outlined in phases Ito 4 (C to D, Dlto E, El to F, Fl to G, Gl to FI).

) =42
rl

tl a
4
l,-^-i
++ rÌ4 eé,-^\ |

r rJ l,^-l
ee

,rf

t. During the stroking of the first half of measure I (the sounding of the "A"), gradually tilt the bow
toward the surface of the "G" string, as close as possible, without actually resonating it. Gauge
the speed of the bow and its distance from the "G" string.
2. On the count of three, gently and delicately move the bow across the "G" string without any
acceleration of speed or change in dynamics, thereby sounding and sustaining the double-stop for
the remainder of the measure.
Raise the bw but slightly from the surface of the "D" stringwhile soundingthe "E" again.
A
While stroking the "E", gradually tilt the bow toward the surface of the "D" string, as close as
possible, without actually resonating it. Gauge the speed (velocity) of the bow and its distance
from the "D" string, preparatory to soundingthe note "A", then repeat phases 1to 4.
| =72
-V
i,^rli.^.1
è€)4è ee l,--.1
ee èl,-^-t
€[ e+

) =72
NV
erer I

èr ar 4r ér JI

J =96
-'l,^, vi,^
e€te+ 1 |

eè ee i,^l
ee l,^-l
ge l-=i
ee

J =96
-
lT1 | Jîlr Jer JTi| 4Ti Ì Jî] Ì

J =66 tl,^ t ol,^-l 31,-

'1,^r
4lr-.,
rt ìrt 4_14_ì 4 l + 4 t4 I + t+ |
l

tl,^. ar,.-
| '1.-,-t I I
4|4Ì JtJl Jî) JìJ
41,-l

=Ì=t
J =69
+e ì/^
I
l
I
-d _a 44 !^l
!a r'^l
4\l
èe
I

oa:
4,ì
èe

a = lé

3o ,-'a4l .
tr-nr t,
.--l
'Ì=Ì 4l4l )ît
itr
I la
l-S
,|l{t'
2,îl
-l lJ

) =72
r |J l,'^-l
++ ttJ Jal |.t JrJ tt,- H
mf

J^Jd Jd^J t ÌJ J J JrÌ J. .t .L .t J.

) =72
I tJ t ,/-.l- | t I I q
,î-
JÎ] }J I rî'
gt- +l^., e r^.r
? e

"f
+e èe ttJ^J-! JrJ J-Jt
l0

It is also important to the overall objective of developing a fine bowing technique, that the metric and
durational values be kept under control . Since the rhythmic and metric beats in these examples and exer-
cises are one and the same, cate must be taken to accent only the primary and secondary beats, to avoid
any alteration, in patcern or meter, caused by the accidental emphasis placed on a note by the mere act
of crossing the string, as illustrated in the following figures.

Alteration of pattern:
>:>

Alteration of meter'
>>

to sound

Alteration of durational values:

A compound of faults:
:>

There are numerous instances, however, when non-metric beats are accented, as in the following
excerpt, from the overtureto DerFreischùtz, byCarl Maria von Weber, in which the composer indicates
a stronger emphasis on the last beats of the first four measures, and on the second and fourth beats of the
following measures:

The metronome markings, suggested by the writer, are to be used for the practice of the various
abstracted patterns throughout the sections of this book. It is advisable also to practice them one notch
above as well as one notch below the metronome marks indicated.
 ll
SECTION I

PATTERN I

SUGGESTED PROCEDURE FOR PRACTICE

Begin each measure with the metronome set at ) = 72 (two beats to a measure). These are to be
played with a détaché bowing; a smoothly articulated stroke with no pause or break between the notes.
\Vtren the movements of the arm and hand feel comfortable and the crossing motion secure and well di-
rected, advance the mark to J = 88. Again, when these are played with a feeling of ease and control ,
advance to J = 104. Play each measure keeping the metronome at ) = I04, using a spiccato bowing. When
these are played with a sense of ease and control , increase the metronome marking step-wise to ) = IL6
and)=126.Atanadvancedmarkingof.)=132to)=Is2,thebowisagainmovedwitharapiddétaché
bowing.
12

ETUDE
PATTERN I

) =g2 (spiccato), ) =tZO 1détaché)

 t3

PERMUTATIONS OF PATTERN I
'ì4
 l5

ETUDES
PERMUTATIONS OF PATTERN I

Allegro .l = 96 (sPiccato)

AIIegro molto J = 112 (sPiccato)

tó
BOWINGS
PATTERN I

A
C
>\. (t>n
- t7 =a

C
* A
:>.
f; B
)a
ì . ),n -a ..1

fhe dotted notes are to be played alternately on the string (Staccato) and off the string (Ftying Spiccato).
 17

ETUDE
BO\UTINGS (PATTERN I)

-î a? aÌ a? ,-> /îì

:\ Tî>rA a? G

PATTERN II
C1
't8

PERMUTATIONS OF PATTERN II

nl
If r
-l arl
U rr1
D1 DT D1 D1 n
19
20

ETUDE

PATTERN II

All,eero con brio ; = 100

 21

ETUDES

PERMUTATIONS OF PATTERN II

Allegro non troppo J = 88

Aliegro ) = 92
22

BOWINGS
PATTERN II
n^1 c1
)^

F1 îr
u
> >_

C1 Di
> >r\
À

-l ^l r t1
_tr \J rf
>- )a
I à

n,tl
-/^-
(+-]+ f-r

r^
-l r-7
U g1
>^
.?7 a =\ ^
:>
A À

n1
,rl
^ D U' D1
*)a.\
--^41
2n
,1 >>
ìir >>-

ai=\ .
f-
>
f\ ì
>>
\iì A. )^

The dotted notes are to be played aiternately on the string (Staccato) and off the string (Flying Spiccato).
 23

ETUDE

BOWINGS (PATTERN II)

Moderato J =69 to Allegro J =96

I Él al alcl .aal d

A. .A
a
24
PERMUTATIONS OF PATTERNS I & II

-1
E;- F1 ^1
Lt
> > :>

-t
tJ- C1 D1
^>^1 >> > >

_l
D F1 H1
> > >

n^Ì -1
It C1 nl
U
>- >> > >-

l1-
>

-1
E- fr-
> >
25
26

ETUDES

PEMUTATIONS OF PATTERNS I & II

Vivo J=126(spiccato)
 27

Altegro di molto ) = tlz

This exercise is to be practiced with a Martelé bowing; each note beginning with a sharp attack and
-:parated from the next note.
Allegro giusto i =100
28

ETUDES

BO\rrNGS (PATTERNS r & rr)

 29

Allegro di molto ) = 112

Moderato assai J =66

î;_= -T
=,a.

>-,--
aa+

=-..\
30

(PERMUTATIONS OF PATTERNS I & II

n^1 n^l
>
^1
-a\
> :> ^^I

rl.
^:^1> ^1
^:^1> ^^l
:>

B1 -1
D B1
nf
D
> > >

B1 -1
D B1
> :>

C1 c1 C1 C1
l> > :>

îr ^) C1
9' :> :> :>

g "j
D1
:>

D1 D1 D1
"j :>
 3t

^T
LJ
l>
32

ETUDES
PERMUTATIONS OF PATTERNS II & I
Allegro ) = 92

Allegro ) = 92
 33

ETUDES

BO'IUTINGS (PERMUTATIONS OF PATTERNS II & I)

Allegroassai J=tOO

^. 3\ i\. -, j\.

'l\ î+ î*fr
^
34

SYMPHONY No. 40

WOLFGANG A. MOZART
Allegro

Combined in the first measure of this example are F of pattern I and H1 of pattern II , one of the
many permutations of pafterns I and II .
In measure two wefind H1 and A1 permutations of the basic patterns. Measures three, four, five
and six are repetitions of the basic pattern F. Measure seven consists of an element of F and an alter-
nate crossing befween the D and the A strings.

Subsequent examples will be similarly notated, using symbols corresponding with each section.
 35

PIANO CONCERTO No. 4

LUDWIG VAN BEETHOVEN

r---]

SYMPHONY No. 34
Presto WOLFGANG A. MOZART
40 r- L A I s | 4 o

J = tt6

CONCERTO
AIIegro moderato
3z--: DOMENICO DRAGONETTI
I 4l

)=Lt2

CONCERTO
Cadenza
"tA

ETUDE
STORCH - HRABE
Allegro
2

GDG

CONCERTO E. D. STEIN
QO

Con fuoco

j=120

ETUDE
Allegro molto ANTON SLAMA

!oo1

J =88
00

Allegro molto E.--ì

l1 \o
 37

SONATA No. 5

ANTONIO VIVALDI
Al,iegro con spirito
O2 O2

lJ-l-l b-{-li
) =92
I

iD+ e+ tj-+ao t
a- a- ]--^ ^ -rr+e rT-
Tì +
-l
't- - Fru

^1 --t
rf
? r tl
r] nL n-
? H-

CARNIVAL OVERTURE
Aiiegro vivo
. lo ANTON DVORAK
4 1 I 1ti-----
I
10

2
ò t-----l---l
4 7o1 l-a l o

r--------t--t
A /r.41
tLTt- t! 6-,r1 ,
38

SYMPHONY FANTASTIQUE

oaí î, 1.* oî-,.-- î, ,-

!-'-\ --: -î-_j> Ò: :î: :î: :i=

+ *-> /-i -

r. ,--l
îi-. ?r a=5 az*. a;'L'îz
->4- o a. G
-
ff l-.9,1-J
D

.r-rrr11-r f ?f
a -
 39

CONCERTO
DOMENICO DRAGONETTI

Allegro 4-3 : :

SYMPHONY No. 6
PETER I. TCHAIKOVSKY
Allegro vivo
0410 1101 t-l ,l2 4
2212 04tO I z!t o4 {g

)=126

SYMPHONY No. 88
Allegro tl-----------*-r JOSEPH HAYDN
rt---------------
I
6lo

;=138
I

^1
-Ét H1

Allegro 4
0

J=160
40

SYMPHONY No. 5

SERGEI PROKOFIEFF
Allegro giocoso
Solo

Allegro

ra
\0e
 41

SYMPHONY No. 3

LUDWIG VAN BEETHOVEN

)=Il2

SYMPHONY No. 5
LUDWIG VAN BEETHOVEN
flr-l
-4t4

SYMPHONY No. 8 (Unfinished)

FRANZ SCHUBER'I
AIIegro 1,4
2 1,0

.lt = tod
42

SYMPHONY No. 7

Allegro vivace (in one) FRANZ SCHUBERT

simile

3
J=100
n VN

simile

simile
: lí. |.l

simile

This bowing (Piqué) is to be played in the upper half of the bow; tJre dotted eighth note short lMartelé) and
the sixteentJr note with a smoother stroke |Détaché),
 43

SYMPHONY No. 4L

WOLFGANG A. MOZART

Allegro vivace
-\l
'.îV\/
ll- o v
-Jv NV

T^r-lT
-:02r r'.'

y ó:!o
r [-]l
'îi,'?I

Li l"'; o I ?
f 4
'r;Z,\i" ? A

fdrJ-l

-tl v/^
lun +
--r-t-
+ ++++ ?
-----i
?t?x_È ? ?? ? Ì?
]--"-.---
44

SONATA
for Two Violins. Cello and Double Bass

GIOACCHINO ROSSINI
 45

)= 60

A B C,D7. Ei FG
Í
BCD'E'F G y1'z l'rt 'i^

J=60

rt u"'3"
?'
E
F
FGIHl
^ "
Lr
,r./t
I-l
,
I
a
46

l=60

î tr"Jr3' n
IJ
E
E t'FL t' GI
F.G.H
H
I

î! u"r|' 3z 3' E,?,' i.z Ila

É b
 47

I=60

C ,DI E,Fl G
D/É F/ c H'/

j=60

î t r'Jz S'r'u2 F'zE'z 7,> i'/'i^

48

)= 1?6

r t t'J 42ou2'u', E2 ?r'rl'--' "

"

)= 144

,r t/"J.32ou'. F'rtr?,)l'-- u ^
 49

.lt= 60

fi -.t*^
a -l
I ^ ^./D
ó/
DL. ?rl'.8' T

rA B
BCDEFGH
CDEFGHI

tl

b
50

SECTION II

PATTERN I

SUGGESTED PROCEDURE FOR PRACTICE

), = 92 to J. = 108 on the string - détaché.
J. = 116 to )' =t52 spiccato.
J. = t60 on the string.
 5l

ETUDE
PATTERN I
Allegro J. =e8 @étaché) ). =ILz (sPiccato)

Ailegro ì = 88
52

BO\UTINGS
PATTERN I
o= fi, .\. -\.
=- n
C
U
>p\>É\:>

A
:>(l
.--. u= iì, - É1, ci^ t)

H
> .4. :> .^
 53
ETUDES
BO\UTINGS (PATTERN I)
AIIegro
îrît
J, = 88
a i\

Art egro t. = 96

fi+ -;

Moderato J. = 80
54

PERMUTATIONS OF PATTERN I
55
56

ETUDES
PERMUTATIONS OF PATTERN I

Allegro con brio ). = ttz gpiccato)

 57

Vivace ), = tZ6

This exercise is to be practiced with aMartelí bowing; each note beginning with a sharp attack and
separated from the next note.
Allegro non troppo J. = 88
58

ETUDES
BOSTTNGS (PERMUTATTONS OF PATTERN r)

Allegro J. = 88
 59

Allegro J.= 96
>ì .a ;
ìì

n ai t

>À + +\ +-r\, I

,-: ,-: .-,

À tL^tLLl't

Moderato J, = 76
ó0

VARIATION OF PATTERN I

PERMUTATIONS
 ól

G G G
A C
ó2

ETUDE
PERMUTATIONS OF VARIATIONS OF PATTERN I
Moderato ). =76
 ó3

ETUDES
PERMUTATIONS OF ANOTHER VARIATION OF PATTERN I
Moderato ). =72

Moderato J.=76
64

EXERCISES BASED ON PATTERN I

AIIegro di bravura ). =tgz
 ó5

TROUT. QUINTET
Allegro (in two) F'RANZ SCHUBERT

63-

Scherzo (in one)

2

à.= LZO
??+
F-r ?
t- ??
T- T-

SYMPHONY No. 4 (Italian)

Allegro vivace FELIX MENDELSSOHN

). = L44

Allegro vivace

).= Vql
66

OVERTURE TO "EURYANTHE''
CARL MARIA von WEBER
Allegro
y o i\d ii o'z o I o 1 1o 3 J
, -3 J 3 T-J ff-
) =t52 î
v]}
'
-
? ?
- -
?
-
t
- + _t ^ o 3 tq
.r
J
B3
SYMPHONY No. 103 (Drum Roll)
Allegro con spirito r JOSEPH HAYDN
24 01

H DH
SYMPHONY No. 5
Moderato assai PETER I. TCHAIKOVSKY

)=tzo ff

a È - +-gt
-
_-J+t=--;iz|r.i-i-
 67

CEPHALE ET PROCRIS SUITE

Allegro ANDRE GRETRY-MOTTL

a-? t o

SYMPHONY No. 45 ("Farewell")

Presto TOSEPH HAYDN
| ! |
I
r --___]
4 4 I

ryJJ
!
oó
JJ ?

l, =Mq
?
.- ? ?
r ?
r
-?
T- ?
- -
.) 3 ?
DJ cJ

-t
1+
ó8

SYMPHONY No. 7

J. = 104

- ;V - l'V
 69

PIANO CONCERTO No. 4

Presto LUDWIG VAN BEETHOVEN

2
lol ^?
<U

rJ <v t l-.'-
r=160
ó-- a#--
?
r ? ??
- T- î-î-
-

B3 B E

4_ t2 4

4
3 ,v

? - 3- 3 J
-
3 rì L)

TILL EULENSPIEGEL
Allegro con brio RICHARD STRAUSS

!l' z ^7) Ft Y,,,.l

2.,4 4lì v
F

- tr -
EH
Permission for reprint granted by copl'riglrt o$r'rers, C. F. Peters Corporatioo, New York, N.Y.

DON QUIXOTE
AIIegro di molto RICHARD STRAUSS
- ra------l !
u

J=139

3
Permission for reprint granted by copyright owners C. F. Peters Corporation, New York, N,y.
70

SYMPHONY No. 7

Allegro vivace (in one) FRANZ SCHUBERT

i0

D -
)=too ff 3

Vf 0
îTì_ ?
TT

3
/ ?
.)

?
f*
?
r ?
r -?
.r

011

7- t
7
.) .t .t
7
J

?
.- ?
r ?
T_
?
-

| ,2 .-- 120 I

V+ r e
T* ? ??
.r r + -?
î*
- -

7 7 f f 7
3 .) J

?
î- ?
r ?
1-
? ?
- -

J 3
2r2 101 Z.)
 71

z12rlt

3 J 33 J
?

?
--.--
??? *t-J-J-1-+++ I t-tt
BSHSSHBJHB3H

vo-V iro
ìll
?

?
T- NV ?
T- ??-t
- ---

r21o|.

l4J J l+.J ?
L-,'J 3
J .t
+++ ??? ?r
_-.t-i.t --- ^lr

SYMPHONY No. 1

Allegro TOHANNES BRAHMS

:>
L,Yo4 bt-' -,
Ir \l

).= tzo 6
',}
V+'
:raT-
:>
t'1- \tr
!!!f- èi ,\ )- \:-: V

DDD

- fì /--^
'lf--.-f^.- n
F ,. z2 !:b+
\Zbí 2h;
Iu+h

F
F?
ìt
I t/-
r Y-É n \/ +i ?î
î- î-
?
î-
-e
+?++
rÈÈFF + +'
t-

CHH
72

.i\ = 50

/ f u.'3" D1
E
E,rF',2
F, G,
G1a
b

,\=50

r !z!'z$' orz\'rE' Ga
b
 73

.|=50

lr ra
J'=CU

f A B C D E F
-B
Ga
C D E F G b
74

l=50

f t/Zr|'r'u"uzE'z Gla
b

j=50

r tz uJrS' \z\'z E'.1"

 75

)=50

r trui 3r?'.3' E.l'"

.h=50

1A
-B B C D E F
C D E F G
76

SECTION III
PATTERN I

SUGGESTED PROCEDURE FOR PRACTICE

) =72 to J = 7321détaché)

ETUDE
Moderato J
I

= 84
PATTERN I
 77

PERMUTATIONS
PATTERN I
78
 79
ETUDES

PERMUTATIONS OF PATTERN I

Allegro vivo J = 96 to J =120

Allegrovivo J =96 to J =120

80

BO\ÙTINGS

PATTERN I

* The dotted notes are to be played alternately on the string (Staccato) and off the string (Flying Spiccato).
 8l
ETUDE
BO\UTINGS (PATTERN I)
)
I

Moderato =76
-

ETUDE
BO\TINGS (PERMUTATIONS OF PATTERN I)
Allegro J = 96
82

PATTERN II

ETUDE
PATTERN II
Vivo J = t20
 83

PERMUTATIONS OF PATTERN II
:^

|]',
+*
 85

ETUDE

PERMUTATIONS OF PATTERN II

Moderato J = 88
Bó

PERMUTATIONS OF PATTERNS I & II

87
8B

ETUDES
PERMUTATIONS OF PATTERNS I & II
Allegro ) = 92 to J =108

Allegro )
 89

PERMUTATIONS OF PATTERNS II & I

n1 D1 -1
D
G Dl. H
D D
90
 9t

ETUDE

PERMUTATIONS OF PATTERNS II & I

AIIegro con moto J =88 to J =1oo

92

VARIATIONS ON A THEME BY HAYDN

(Variation No.6)

JOHANNES BRAHMS

OVERTURE "LEONORE No. 3"

Ailegro (in two) LUDWIG van BEETHOVE\
fr*---..-
-.21! I o2 ho zo FÉ
-rl
4

| o ;\o 2 1
 93

SYMPHONY No. IO2

TOStrPH HAYDN
Alleero vivace
0t

) =rgz
a-
r
t a -
î
a-+
rf-
+ +t 4+e +
l-
++
J- J-
-r -T----

HHH HDD

SYMPHONY No. 35
WOLFGANG A. MOZART
Presto ltL
t/l !^^ 'é.rr* 2^4
Da L'! .1
I
l)- ^ ^'
-

Tì
n
J =132 ?
-+a-+ + +++
t- 1- 1-1- ??
rÎ- T- t+A
î-î- -r- ???????^
rrT-î- T- T- r u

IJ H H

OVERTURE to "DER FREISCH'íJTZ"

CARL ]\{ARIA von WEBER
Molto vivace
>>
4r 2 q!l> >

> F
l

à =104 p :> :>

> ?
r ?
.-

az22>- r> > > > >> >-

,l 4l 4l

:> :> >- >:> >:>

+
L ?? ??
_î- _T-
??
--
=>
94

SYMPHONY No. 3

FELIX MENDELSSOHN
Vivace
nn - - TT
7o
I =l?e p
-|.1 -- n

-n -n -- -1

n- -il n- -

Vivace

) -- tzo

t+- r ltlt
-

- ]TT-] ^-
 95

OVERTURE TO ROMEO AND JUTIET

PETER I. TCHAIKOVSKY
Allegro giusto
n NV -
I l-i ,.-
J =t3B
-nv - + +Ì+
?
r -r- î- î- î- ??
î-î- ?
T.

ft
D H

fi------------r

SYMPHONY
AIIegro -t
-
96

SUITE No. 2 in B MINOR

r\ IOHANN SEBASTIAN BACH

) =l2O _

SONATA No. 3
Allegro (sostenuto)
 97

) =?2

îf 2.3)3' F.E'-g'u

=
D
c
D.

b G.
o

I =12

t t, "i.3' B, F)5' Ga
b
98

h=72

î t-3' ?">F'E-l'"

)=72

îA BCD EF Ga
B CDE FG b

D E

b G
o

d e

h I
 YY

ù=72

î^ B..ci/Dr E.Fr--.Gra
B CDEFG-b

I =72

Í t.ujT'B-F)E' Ga
b
100

,D= zz

A ./ B' CzDtzar F 7Gr a

î B'CDE' FG'b

j =72

î A BCD
B CDE
EF
FG
Ga
b
 r0'

)=zz

tr'E'-
Z'"

)=?2

n 6'L p1 UA
t.T.s' L rUz'^
Zza b
t02

)=?2

t 'J |-BiF' E- ",'u

)=?2

ABCDEFGa
BCD EFG b
 r03

)=zz

F'E'-"o'"

.N=ZZ

A 81 C1 D E1 F1 ,Ga
BCD E'F.G/ b
104

)=zz

h81 c -DrEl F G1a

B/C D/ E'F Gb

6 r-,on
 105

SECTION IV

PATTERN I

Suggested procedure for practice: Each pattern is played first at a metronome marking of J = 90.
The tempo is accelerated until ) -- L76, with the bow on the string (Détaché). With the metronome set at
) =792, the patterns are practiced with aSpi,ccato bowing. At ,'= 88 the bow remains again on the string.
r0ó

ETUDES

PATTERN I

AIIegro giusto J =168

 107

Presto J. = ?6

This exercise is to be practiced with a Martelé bowing; each note beginning with a sharp attack and
separated from the next note.
Moderato . = !44
r08

BOTTINGS

PATTERN I

2
gj\ B
:>
c-tÀ

E F G
:> > (1

D
 r09

n
)af\a

-*n :>
É\ -

7
n
lrl . 3r' n

E F
>
\ a tì
ì10
ETUDES
BO$TINGS (PATTERN I)
Moderato ) =126
I

Andante ) = 138

r-\f f \ ?t
 t'tl

PERMUTATIONS OF PATTERN I
112

F F F C F
>> D >>
 ll3
ETUDES
PERMUTATIONS OF PATTERN I

Allegro molto ) =152 to J = lT6lspiccato) to i = 208 @étaché)

Allegro molto J = t68 to J = L841spiccato1

ìt4
BOWINGS
PERMUTATIONS OF PATTERN I

C
3r C
F'
C
G IJ
 r 't5

C:-

-r

tr
-u
-

F E F G F H
r-p t\
^

Htr, LIE
I I I' HG
iló
ETUDES

BO\rrNGS (PERMUTATIONS OF PATTERN I)

Allegrogiusto J =t38to J =160

a-' a
^
n a1

'
/-^\
-.)- -ta- \

\ I a. \
-r\--t----i-l- - - -

| É\
 117

Aliegrogiusto J=160
aÌ at a1

-J- +

rÎrcl G

a? 4;l -+ ,l +\ a? A r^\ ;\ -rG \ a-+ +\

-1
r\ î+a /->^ r> r\ r+ rT\
^À

..'-.è-\ --.---\ --
,++\ a- ! a4]----'t -- 4
llB

Allegrogiusto J=138 1o J=160

-J -+ -1

-? at rrl Él
 'It9

SYMPHONY No. 1
Scherzo
iìì 14212
JEAN SIBELIUS

O Copyright L9O2 by Breitkopf E Hartet. Used by Permission of Associated Music fublishers, lnc.

Vivace (in one)

SONATA HtrNRY ECCLES
!>,0

.1 =?2A

fì--r

SYMPHONY No. 8 LUDWIG van BEETHOVEN

Ailegro vivace
4
h ,-'-1 9
440
11r'l 't + : 4
120
SONATA No. 5
AIIegro ANTONIO \TVALDI

Vivace SCYTHIAN SUITE SERGEI PROKOFIEFF

H I)T.DFDC
R€ne$ed 1950. Cop]rlght and RenewÀl xssigrlrrì t0 lì0oscl & Haskcs, Inc. Reprintcd by permission

Allegro SYMPHONY No. 39

I
tf7 f, ri-ìI WOLFGANG A. MOZART

tG 4

x As illustrated above, a change in fingerings will often induce a change in the bowing patterns. In
analyzing the change of patterns one can readily observe, as in the measure indicated by an asterisk, that
rvhat is often judged to be an ideal fingering ( "ideal" judged by the fact that all the notes of t}re mea-
sure can be played in one position) induces, however, a pattern that presents a complex bowing problem;
rvhereas, in making a move or moves outof posifion, or even in preferring an open string, very often wi.ll
induce a sequence of patterns whose similarity and familiarity will afford the passages to be played with
greater fluidity.
 121

SYMPHONY No. 9

LUDWIG van BEETHOVEN

tr-;-l,

CONCERTO
Rondo Sostenuto E. D. STEIN
3o

Più mosso
gt'a- - - -
t . 3 t , . I 30 z 3

Buq- -
122

SYMPHONY No. 45 ("Farewell")

Allegro assai JOSEPH HAYDN

d Fì D

r---------]

SYMPHONY No. 2
IOHANNES BRAHMS
Allegro non troppo

) =r44
î
 123

COURANTE from SONATA

AIIegro con spirito HENRY ECCLES

,: 4 | i it ; I ' \
--.".-
D I-J-I-J
J =100
n-
aaaa+ *++ ++-Cet ?
r----tJT ts- È
I I 1 )
- - -t_
î-ti-1-l.t T'

t
f\\ 3
,...ll2:4 1l- -\1 lrn-I
0

fl (:

+aaCaCt- a +C+ t a ? aaa

îrrrrr-îT- f- î T r_r__r_r f o-,--o---t-.-- -----.--,1---L

î-.
-l

4 Z 4 .4

l#r
D
?'???
----
/-
i;r t- ae+ja+t+
rT-rFl r rr - - -
124

SECTION V
Patterns, Etudes and Excerpts relating to three and four strings
BOSTING DRILLS FOR THE UPPER THREE STRINGS
A
1^ RC DE
:>- I 0 >u > > > >>

BO\UTINGS
J

*_.ihe dotted notes are to be played alternately on the string (Staccato) and off the string (Flying Spiccato).

BO\TING DRILLS FOR THE LO\TER THREE STRINGS

k
 ì t(

ETUDE

UPPER THREE STRINGS

Presto ;. = 138 gpiccato)

ETUDE
BO\UTINGS FOR THE UPPER THREE STRINGS
Moderato J.= 100
126
BO\T/ING DRILLS IN THREE QUARTER METER
(UPPER THREE STRINGS)

BO\UTINGS

BO\UTING DRILLS IN THREE QUARTER METER

(LO\ùrER THREE STRTNGS)
 127

ETUDE

IN THREE QUARTER METER - UPPER THREE STRINGS

Moderato ) =L26 lmartelé)

ETUDE
BO\TINGS
Moderato ) = 126
ltó

SYMPHONY No. 1

Scherzo - allegro molto JEAN SIBELIUS

2,. ootl4t t441414

) =Bzf
?p?Ì?
T-T-T-TÎ-

,,l
H A H'

O Copyright l9OZ by Breitkopf t, Hartel. Used by Permission of Associated Music Publishers, Inc.
 tzY

BRANDENBURG CONCERTO No. 2

-IOHANN
SEBASTIAN BACH
AIIegro
r30

MAGNIFICAT

Allegro moderato JOHANN SEBASTIAN BACH

OVERTURE "LEONORE No. 3"

LUDWIG van BEETHOVEN
Allegro
 13r

SYMPHONY No. 5

LLDWIG van BEETHOVEN

Aliegro
n

Allegro
2

Ér V.fl
132

SONATA No. 2
Allegro
4

i, i r{ y f : F L,-'.íL "'^L\ 2o
2. o r 2.n lL,

??+
rr
p ? ?
r
ta^e
1 - I -r-f tt-. e a- aoa -
I f-J--,i!-f-LflLf----L---L
oa -
- - - - - c r-tr-
 r33

SYMPHONY No. 9

LUDWIG van BE E,THOVEN

Prestissimo
3

---4
lra 11
-1-'1 4 ll 4 l 4o
*f)=!32

l------r fì-----..--.
'-l

DG G D G L].!J l-lÈ'l

Ît?p? +++++? +???+ ? tT- ????

'
+--
----- 1- 1--1- i- t- t_ 1-1-1-1-_Î. T- _ - -î-î-t-l-

Maestoso

*
Begin the study of this excerpt at the metronome mark o:= II2; advance gradually through ò =116,
I2O, o = 126 to the final tempo indication by Beethoven of " = I32.
134

SECTION VI

BO\TING DRILLS FOR THE UPPER T\TO STRINGS

A
90 o, +01 ,2

11 I2 13
10
:> .-ì n >^ .-\ )---, I\ > //- - ,t-ì.
 135

VARIATIONS

e
:>
!te ta? t-!
r3ó
r38

Vivo ) = 200 gpiccato)

O6 4^4
-ua

The dotted notes are to be played alternately on the string (Staccato) and off the string (Flying Spic cato).
J =168
ît î: a2
 r39

= 169

/---' L '_)- t '?\

-
) ='l'52

The dofted notes are to be played alternatelr' ,:n il.= rSrctccctto)and off the string (Flying Spiccato).
j =t6o

2A

This borirng lPirlttt't i. ro be plalcd in the upper half of the bow:thc dotted eighth note short lMorlelé)
and the sixteenth note \\'ith a smoother stroke (Détacbd).
140

Moderato . = 720

The dotted notes are to be played with a F\ting Spiccato bowing.

Aliesro ) = 200

,--,è\

/--_\

Moderato , =120 to
î- ./

Allegro )' = 92
 141

Atlegro 'l = 160

! ?t tt a.
-i
142

Adagio ì = 200
 143

-. I
V=- -2^. V,^. v