Kdriowos S.L. Lombandn Rebeca R Fura, Houra IVAN GALAMIAN SCALE SYSTEM VIOLONCELLO Part I: Scale and Arpeggio Exercises with Part II: Bowing and Rhythm Patterns ARRANGED AND EDITED HANS JORGEN JENSEN Catalog No. 13282 | Galaxy Music Corporation a division of ammNGCONTENTS Introduction of the Violoncello Edition by Hans Jorgen Jensen Preface by Ivan Galamian and Frederick Neumann, Additions and Changes of the Violoncello Edition from the Original Version of Contemporary Violin Technique THE IVAN GALAMIAN SCALE SYSTEM FOR VIOLONCELLO ‘Two-Octaves Studies: 1) Scales in Two Octaves 2) Broken Thirds in Two Octaves 3) Arpeggios in Two Octaves -Octaves Studies: ales in Three Octaves AST sroken Thirds in Three Octaves, ST 6) Arpeggios in Three Octaves A/ Four-Octaves Studies: 7) Scales in Four Octaves 8) Chromatic Scales in Four Octaves peggios in Four Octaves “J Studies in One Position: 10) Scales in One Posi 11) The Chromatic Scale in One Position 12) Broken Thirds and Fourths in One Position 13) Arpeggios in One Position Studies on One String: 14) Scales on One String sroken. ChiraFourts, Fifths and Sixths on One String 16) Arpeggios om One String ‘Unusual Scales and Arpeggi 17) Scales of Varied Length 18) The Whole Tone Scale 19) A Few Non-Traditional Scales and Arpeggios iv,v vi one 98 101 104 a Sa Ma we la a ay ae wa alae ( pee OC aa iS Okeyancader” Be nie decree. oe nots, anes INTRODUCTION TO THE VIOLONCELLO EDITION (api? ; ; ia Badyrinte A EAE nous -, \ Wn Oy RTE een on As a student of Leonard Rose at the Jilliard School of Music I was first introduced to some of Ivan Galamian’s principles of string playing. One of the great cellists and pedagogues of this century, Mr, Rose was very much influenced by Mr, Galamian’s teaching, During the summers from 1953 until 1966 Rose taught together with Galamian at the Medowmount School of Music, which Galamian founded, Over the past 15 years I have used the Galamian scale system as an integral part of my own teaching ‘method and I have always felt that there was a strong need to formally adapt this method to the violoncello- ‘The Galamian scale system is not only a great aid in developing agility and contro! in the left hand, but is also an invaluable tool for building important basic skills of the bow arm and in developing coordination between the hands. Scale and arpeggio practice is important on all string instruments for the development of strong mental images and a solid physical tactile seoes of fingerboard spacing. Although one can study this book in many different ways it is most effective to practice each chapter in its entirety to gain a cleat understanding of the fingering concepts presented. Wherever possible, fingerings have been organized so that they are consistent within each chapter. Once a particular fingering system is understood, heys in any given chapter can be leamed in any order. In addition, each individual player should take the time to explore his or her own fingerings since no two people are alike. Most of Galamian’s violin method is very easily adapted to the cello. Chapters 10 through 13 (Scales and Arpeggios in One Position), however, offer the greatest technical challenge to cellists due to the large handshapes and stretches presented. ‘These four chapters can be very helpful in developing the use of the thumb in the low as well as in the high registers. It is nevertheless important to keep in mind that sustained stretching and extending of the hand can be very harmful. Practice chapters 10 through 13 very carefully, always releasing tensions caused through stretching by relaxing the hand immediately after extending it. If any pain or discomfort is felt, stop immediately and rest the hand for a few minutes before ‘continuing. Read and study the Preface by Ivan Galamian and Frederick Neumann very carefully in order to fully understand the system of bowings and rhythm patterns. The rhythm and bowing patteras can be employed in a great variety of ways and should be customized to suit each individual player's particular needs. Including the Galamnian scale system as an important part of one’s daily practice routine will help develop a sound technical foundation. In order to play scales and arpeggios well it is necessary to have complete Control in three areas: the spacing of the hand within one position, the lifting and dropping motion of the fingers, and finally, shifting. ‘There are many fine exercise books by such cellists as Cossmann, Klengel, Feuillard and Starker which are devoted to developing those skills. Those books are all very useful ‘companions to the Galamian scale system. My deepest gratitude and special thanks is given to cellist Edward Goldsmith for his invaluable suggestions and help in proofreading. Thanks also go to cellists Charles Jacot and Andrew Talle for their Constructive suggestions. I would also like to thank my celfo students at Northwestern University for their helpful comments. Hans Jorgen Jensen ‘Northwestern University 1994 : iitPREFACE Scales and arpeggios are in the Galamian Scale System integrated in an entirely new way with a system of bowing and rhythm patterns. 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 B1 to B 16 for bowings, and RI to R16 for rhythms. ‘The numbers indicate the number of notes in each pattern. For example, the following bowing pattern <> «+ «> is regarded as a two-note pattern, being made up of two-note Components <> and is therefore listed under B2, The design’ —s—~. s—= > 3 is a four-note pattern and appears under B4, The same principle applies to the Rhythms, The following example J~3J 3.9 derives from the two-note rhythmical figure J_ J. Accordingly itis referred to as a two-note rhythm pattern and is listed under R2. The figure [3] [1] is a three-note pattem (R3). Thefigure | + patty “i'ttwelve-note pater (R12), ‘The following illustrations derived from Chapter 4, will demonstrate the method of combining the exercises with the patterns. The applicable patterns are: BI, B2,B3, B4, B6, and B12 RI, R2,R3, R4, R6, and B12 Ft Pimary pate 9 I re Application of its first primary pattern: SSS "The guiding idea of this integration is explained in Ivan Galamian's book, Priniples of Violin Playing and Teaching, Prentice-Hall, Inc, Englewwod Clift, New Jersey, 1962. iv win Sa Cae o » cApplication of B3,2) > = with first primary pattera: == oniny = Application of R2, 1) [—] a) detache b) legato Sei ” ‘Combined with B3,2) <> = andR2,1) 77 ——S ce aed Combined with B43) > = andRi2,8) J 27 0 SS SS At the head of each chapter in this scale book B and R code numbers are listed to indicate the ‘plicable pattems. Primary patterns in which the exereise should first be practiced ate also aiven all B and R patterns of 1, 2, 3, 4, 6 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, To facilitate the use of various bowings, rhythms and their combinations, all note-heads in the Sxgreises are printed without stems. Bowing patterns are shown by note-heads which co not indicate any specific time value, meter or rhythm. Rhythm patterns are presented without any indications for specific bowings. ‘The teacher will be the best judge of which bowings, rhythms and their combinations will most tsefully serve the needs of each student. Itis suggested that the patterns be utilized in 4 divervhed fashion and that the rhythms and bowings be employed in coustantly changing combiactens ve stimulate continuous interest. Wig hope this approach to the problems of contemporary cello technique will provide interesting and profitable results for both teacher and student. Ivan Galanian Frederick NeumannBowing Patterns ‘The Bowing Patterns are realized by repetition, Thus, the basic two-note pattern «s be- comes «+ .~+, efc, 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 II. 2 omc 2356ONE-NOTE BOWING PATTERNS Bl A yD @ a8 7 6 6 & 6 v TWO-NOTE BOWING PATTERNS B2 yD oe 2) ~S oS Ne rd oe THREE-NOTE BOWING PATTERNS B3 ow oof oe 6 a6 3) 4) —— 2 6 8 . —_~ - ~ — so 6 3 oe ome 2356 © Copyright 1966, by Galaxy Music Corporation, for all countries, Prtited in U.S.A, a division of ECS Publishing, Boston, Massachusetts. 3B4 FOUR-NOTE BOWING PATTERNS 2) ee a —— o) « . ° . ~~ Qe a = —— 9 & & ee ~~ eMe 2356*Variant 5) FIVE-NOTE oe owe a oe oe é —_ oes ee oo BOWING PATTERNS BS 0) oe 6 ao a3 7 ae . . 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. Mc 2356 5B6 SIX-NOTE BOWING PATTERNS 2) ~~. —— _——. 3) . omc 2356; ) 3 z ee eo cee eeve oeweoeee a ee ae a a ee ——. coe coos SEVEN-NOTE BOWING PATTERNS B7 2) weoeees 3) ooo sw. ceoows . . . . . _—_—— woooe cooe cee ooecewe OMe 2356 eee swe oe ss wee — a eI coe es we eoowess a(B7) 9 «wens woe 5) eee oe coecoee a oe eee > ) fee ssae 8) oe oe oes ” asese aoe eses oe . esas 8 Mc 2356EIGHT-NOTE BOWING PATTERNS B8 Mc 2356 910 Gmc 23569) Te ees 10) «7s 8 ome ome 5 (BS) ° ae oe oe ee re a oe oe eee ee a NINE-NOTE BOWING PATTERNS BO ome 2356 dL. . . . . . . . . ) ee eee sos (B9) 3 12 Me 2356nD © . Gmc 2356 13B12 TWELVE-NOTE BOWING PATTERNS oeoe . . . . . . . . ‘\ . . . . . . . . . eo . ccc ere ec eee ce a i a a 4 onc 23563) coeeeoe _—— Cece eccece oo eee ereeceeoee ee o ——>——————_ . Cece coo ces aaa ere Bes reece ceee eee cooee mao eos + ar ee coo ees woe eee eee sss csc ecece sat . — szwtTS eee evsecvece coe essa ceeee aaweee = oeoeeeee aa TT: re ee ee . . Gwe 2356 15(BI) 3) «eee ee wes aae 6 - ————— tov eee e oe ees eevee ce es ess _—————__ cece eeees esa ccocceecws eee . ett eS stag eo: eee a cece ccee ead 7 woeooeeee oess ees sea wee eee ce aee weeeee —loT+ ; . . . . wees 7c3 eee ess sa weece ad www 5338007 =a —— eee e ese sea woe coeee ove aw. Pee = . soo . . . . el! . . . . . . . . . . . . . . 16 omc 2356wtTS 2) eco - eevee oes eases . . . . _———__ Ceooeoe =TTS rer a ee we ee oe we +. ee a sone a aoe oeoe wooeee “ _—_———_, ovoeee _———__ weoee ee oe oe we ewe ——. ————— weooe 0 oe oe we we ee anc 2356 17(B12) 9) «e000 cee Soe a a a oe Ser Ta ee coe ee woes Es ——, ec ee coe oe cee ——. oS ee ee ee ee “eee were cee ee 18 10) —~, _-—... oe coo es i a Bac ee wees sree cooecee ey — cooesss . . . . . . . . . — oe —, Cr GMc 2356(B12) SIXTEEN-NOTE BOWING PATTERNS B16 Sixteen-note patterns are formed by combining patterns of smaller groups adding up to ixteen notes, such as a twelve- and a four-note group; two eight-note groups; a seven-, a ix- and a three-note group, efc, These newly formed patterns may then be shifted, note by note, across the bar line to form still more patterns, Examples: a twelve- and four-note group: Soe e ee two eight-note groups: eee ai ee The same combination principle can also be used to form new twelve-note, nine-note, eight-note patterns, efc. ame 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. Asslur combined with a horizontal line linking two notes shows that they are to be played as one note, For example, J+ 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 c) 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, (24429. 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, 4_ #494. 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 10 the scales, noting those that are troublesome for additional aitention. 20 omc 2356ONE-NOTE RHYTHM PATTERNS 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: ly 2) 3) 4) 4s i) 38d des 8 Ham All Primary Patterns in Part I belongto this category. There is no need for further examples except for afterbeats and syncopations like these: fiJJ dw TD labo 4) 5) 6) 7) POOF hd AR RR 8) 9) 10) Ped yh gddydy ghy gha de de de Sd OMe 2356 21R2 TWO-NOTE RHYTHM PATTERNS » 2) 3) 4) me 5) 6) y8@ Tas dd MPLA FS Fl 10) 7? 8) 9) FLV RI FL » » 3) 4) 5) 2 against 3 me.I p20 We FOR 2 LL » 2) 3) 4 og. J il i dd d0d2 | 8) 6) 2) 8) BJ Jc dL Ie 9) 10) u) 12) BldiL SPA J Pal | 22 enc 2356THREE-NOTE RHYTHM PATTERNS R3 1) 2) 3) 4) 5) 6) v@ TIF MTT RIA | Dy 8) 9” 10) u) 12) CRIA LIDS IT ITS 2 3) )o— ) bee FTIFTTILS MASTS pda dll pda dl 4) 5) 6) 2” CFL ITD Wr WT | 8) 3 against 2 9) 3 against 4 eri due ffi ep Fe 48 et » 2) 3) 4) 5) ® 7” OBL TUITL Lob 2 odd dN Sal ll 8) 9) 10) 1) 1 Al id All FOI Wed) Ed) LD 13) 14) 15) 16) 17) BJ od de ea a Pd OM Mc 2386 23R4 FOUR-NOTE RHYTHM PATTERNS » 2) 3) 4) 5) 6) 7) aeITTHI ATI AT DI AT 8) 9%) 10) uu) 12) 13) 14) 35) oc Ae) 55) FSI Siem 1) 16) 17) 18) 19) CPF FRO OW ITTV TTT 20) 21) 23) 24) 25) FIT ITF FITS IT TI TS FTG 2» 3) 4) ne LIL Waite 5) 6 n — AS RA ALA ALT 8) uy 2) PTET IT ST and 13) 14) 15) 4 against 3 el yd dro Wd dd te aad 4 ome 2356y 2 3) 4) 5) (R4) O81 TID) ly TLL IL ITT 6 7” bST7) | ATG | 8) %” 10) uy 2) Jo LN Jids ET sis Iv 13) 14) 15) 24+34+3 3+2+3 @ CJL SELES Sue LEtGill FIVE-NOTE RHYTHM PATTERNS. RS » 2) 3) 4) 3) MIOAAIA IATA AR | ® D 8) I FRAIFAII VIF I 9) 10) rm) 12) 13) @ STN mimnainmi 14) 15) 16) MB oMmiAni Mc 2356 25(Rs) » 3) day FIA IAAL aL ll 4) ALATA ION aT 5) 6) 7) 5 against 2 » 2) 3) 4) 5) 6 O6 ATI ST SAAR ATI 7? 8) sIIT IT Tl ” 10) 1) 12) BWFRICANGICA LATE | 13) 14) 15) 16) FRISGUIFR DS AA) PRD P| 26 GMC 2356SIX-NOTE RHYTHM PATTERNS R6 » 2 3) 4) VaR IPT FRAT IAT S 5) 6 7 8) FTTTARIFTITA WITT FR OAT 1 9 10) a) COWRA Oa aT 13) 14) 15) 16) DTT FTIR TY). ON PR 7) 18) 20) au) 19) CMOS ST) RS 23) 24) 25) iT SSSR NADIE Ta 2) 28) 29) 30) BITIV ITNT TTI TIT Tall 31) 32) STV FTV IITI ITA ome 2386 27(Ro) » of LSI ed APR ALAA 3) {OST STL IQ | 6) (OL AL Vl f An a ad ad TG | 10) OLA ALA PATTI TITRIA Omisn caismoni 4) 12) » 9 DOIFRI FRA 18) Bl TR 13) 14) 15) 16) BL ITTII TIE Tod TI ETT 47) ITVid 1. 1 Idi hy 1STULS STG Fa 2» a 22808 i) DEL DUEL ETE Td 23) 24) TTT DTT) | 28 ome 2356SEVEN-NOTE RHYTHM PATTERNS R7 v 2) 3) 4) 5) Va TA ANA | A FP | LAP 6 2 CAAA A 1) 10) uy) 12) 13) Bl RIAA SSS 15) 16) 17) 18) 19) 20) 8 Cass SRDS | SS | a | SST » 2) NAR RL ALS a 3) 4) 5) RIVA AAT ATI ITT 6 ” ‘IGSIA TRAIT LL Gl 8) 7 against 2 9) 7 against 3 Wt l? TTF 7 741i pitt RET @ bb ek iit OMe 2356 29(R7) » 2 3 9 871 FRAIFAAITTINIT RASTA I FA 6 7 8) MTR Fr IT 9% 10) 4) 12) WS) IT ARIAT AT TTT 13) 14) 15) 16) mM MmomaAmAionm™m 7) 18) 19) MmOmA™ mia Ta 20) 21) 22) 23) 2288 i) TONLE de 2) 25) 26) BEET ANAL IIT il A 30 Gmc 2356EIGHT-NOTE RHYTHM PATTERNS » 2) 3) VT FRA PP a AT 4) ° FRR FTF FPF ISR IF 7) 8) 9) FRA FATG FY PPR OL PRS aT | 10) 1) 12) 13) ¢ DTTS ITF FTF. SST LTP FIT FIT TT. 14) 15) 16) SITAR ATI IA ITAA I | 17) 18) 19) CFA IT OF FT). WIT I A”) 20) an) 22) FTTIVAT] ITTV IE WIT ATT 23) 24) 25) 26) oS PADS CR Ca a 27) 28) 29) 30) 31) R8 CRB RR Ss ee eT Gmc 2356 31(R83) » 2) day) AFRO) AFP) lydFR FR 3) 4) 5) FIFA IT ASD DLT FIP ALTA WTF 6) 7) FLL ITIL ll 8) 9%” 1 TLL FRR LAT FP i 2) 3) BID ATTA TT ICAL ‘SARIS 7 APSR » » » TTT SIT RAD RA) IT] 10) 12) 8ITTI ITAIIDT ASTI SIT IIT 13) 14) WR ATT omimoma 17) 18) eegea ITNT TAIT ITN TG) iT 20) ees Om ams rer 7] 32 Me 2356NINE-NOTE RHYTHM PATTERNS y 2) 3) MINIM MII Miia 9 5) 6) WT)! ATI AALTMIMN AIM IT 7 8) %) iCAM CAM CAM. ae, 10) uy 12) APA IO Rien 13) 14) 15) i] FRAP GO OS 16) 17) 18) WOR Soba 19) 20) 2) APRA OS mc 2356 33 Rg(RB) » wea mimmmi Tamm mmaminmminmmm 1 APRA Fa » 2) % ” 0§ CAAT AR | AA SAS “EAE. AL) | GR 0 SS ST 10) Mu) ” AA TTI) STAT | 12) Am OIE Minami 16) 47) ages ni TST A TATU I ETT | 19) TRH Till i} ITU | 21) 22) e298 mT TSF ITU FLEITT 2) » TTRUIVATI VFR aTTWELVE-NOTE RHYTHM PATTERNS RR » 2 3) 010 DO ATTA FANN FAN APRA NAR M Ane Missmombn 7) 8) 9) INIA NIAAA 10) i) 12) . 1A SNA A | 13) 14) 15) JO FRA) SR JARO AL SR a mm 19) 20) 21) LO RRR a 22) 23) 24) 1 SR 1) SE Mise os 25) 26) 27) Ol OGG) GOO eee, Mc 2356 35(R12) 28) 29) 30) 10 FRR | So 31) 32) 33) ASS RRS SEL 34) 35) SS SS 36) 37) 38) iOS A AL A n SAIS SRR SSSI SSSCo. ==. hil eee =. SRI Se 36 Gmc 2356Note: The preceding patterns can be varied by substituting dotted notes: 1 Ts Od FFF TTA can be played 5. FFL b) SE iiadside 10) PePPEPEPrrrr 13) VITA 16) mmmm 98 AH ATAl 4) TJ can be played 1 IT] FETT | SPT AT 5) 6) | FFF FT 8) 9) Preetreerrrrieeereereecee 1) 12) | JT TI IIT) 1“) imammmmmma 17) 18) DTT MT TUp CAA A CBP (Ri2) J Toadddid Jail | EE ID TT) ST 8) 9) 10) TT. FAG FAVA NITRA AG 37SIXTEEN-NOTE RHYTHM PATTERNS » , 47 FA AT ATT 3) nS FARA 9% I OTD FRTT TTTT 4) WS FATA FAG 13) 2 JOD FA RRA ry 3 TAR | eddece Tevece ” ; ) FR oo Coddddccdcccdsee ») FTTH ATT 38 2) 4) PTT FRI Fr FARAH IT TT 8) 10) 12 my FA PAPHTO 16) ) Tiidstdcaad, JI . i 20) omc 23562a) 22) LO SST 23) 24) a 5 TS ORS ee 25) 26) 27) 28) 29) 30) S| ee | eS 3) 32) 5 SS SS SST SS 33) 34) 35) 36) 37) Fa RR RRS 38) 39) 40) 41) 42) 43) Fn TTT | ST Ga | SS Mc 2386 29 (R16)(Rig) » 4 FT SSS SSS SS ARO SSS 5) ABR OARS ES » » WON FAA ARID AAT AAAS 3) Mmmm m minim ae Lome ee Seo eS | OPA RR SSR oe. 10) tans SF FR SSS SR 35 oe LAR: Serccecch cecchrereccerce | 13) 38 ee DSR SSS BS eS ‘SS ARSE SS SS 40 Gmc 2356Additions and Changes to the Violoncello Edition from the Original Version of Contemporary Violin Technique By Ivan Galamian and Frederick Neumann ‘The Violoncello Edition has been organized into a format more suitable for the cello. The following changes have therefore been necessary: 1. Chapters 1, 2 and 3 have been added in order to give less experienced players an introduction to scale and arpeggio study, The keys in these chapters have been arranged in the order of the circle of fifths so as to provide a basic understanding of key relationships for the younger player. This will serve as a preparation for Jearning the three and four octave studies in subsequent chapters. Chapter 5, Broken Thirds in Three-Octaves and Chapter 8, Chromatic Scales in Four-Octaves have been added in an effort to make this book more comprehensive. Chapter 9, Four-Octave Arpeggios has been expanded from the original four to inchide eight arpeggios in each key. Unlike the original violin version however, the cello edition includes the fifth scale degree in all diminished seventh and dominant seventh chords. As a result these arpeggios contain sixteen notes rather than the usual twelve notes found in the other chords. The addition of the fifth scale degree also applies in Chapter 6, Three-Octave Arpeggios. The Violoncello Edition has been organized into six (6) broad sections — Two-Octave Studies, Three-Octave Studies, Four-Octave Studies, Studies in One Position, Studies on ‘One String and Unusual Scales and Arpeggios. 8 ae ae me Me1 Scales in Two Octaves Cj Groups of eight notes, PATTERNS: BI, B2, B4, B3, B16 C Primary Patterns: RI, R2, R4, RB, RIG 4 ID GNI GAIT | Salih Sita A Sl Two octave scales should also be studied as acceleration exercises 2, 4, 8, 16 and 32 ca notes to the bow. For an explanation of acceleration exercises ‘please turn to page II. oO peeate was oO a 5 Re 2 g 1 AMelodic Minor | |g «ot 2 fete fe thehe 3 Hea HOO OK "CIC D Melodic Minor 24ot yo hay ore B-Flat Major G Melodic Minor © Copyright 1994 by B. C. Schirmer Music Company Inc., for all countries A division of ECS Publishing, Boston, MassachusetsE-Flat Major C Melodie Minor 1343142, f st rsre wae A-Flat Major F Melodic Minor gy i 345 D-Flat Major fiat ata tea tate cteeeHat ety 7 JG ereue oe £ qa B-Flat Melodic Minor Y QO 6 a 343 ) G-Flat Maj ieee etree at eet 4 fe rit) jae S2tens 4 on 3 e oO ae 13424 2 E-Flat Melodie Minor 124 O 8 « 2 i ineG-Sharp Melodic Minor ‘ E Major nade eee at a O 0 oO C-Sharp Melodic Minor oP gtia, : 0 * etree * 7c) i © " aa O F-Sharp Melodie Minor voto! jb fe shoye 2 re) © © QO O B Melodic Minor 713 ot 34304 ) G Major aso jae 22208250 7 E Melodic Minor Lge okay!2 ’ Broken Thirds In Two Octaves j Groups of eight notes. PATTERNS: BI, B2, B4, BS A RI, R2, R4, RB t Primary Patterns: 1 Ul Ina ana sn 2 Major ° 7 ° 03 eel hs 82 Sere D Melodic Minor ©B-Flat Major 0 Melodic Minor 4 seers A-Flat Major ast fs T 1D-Flat Major wie TFs iT T 1 si4a mm B-Flat Melodic Minor 4221 3 sa da2th 2 yeat ' 3 4 1324, 323 a2 253231 ay422t L G-Sharp Melodic Minor Og s@ 3 4 2213244 121427 SD pastels F-Sharp Melodic Minor 32213 31h 3 77 m1 u 2 ait ®Crs3 Arpeggios In Two Octaves Groups of six notes. PATTERNS: BI, B2, B3, B6 RI, R2, R3, R6 Primary Patterns: (MD OG angigani WA WAR AA SR AR AA AR ae Ino Hes ge i 2 1 C Major 4 ‘4 AMinor, 2 a OEE IA. D Minor mca Ih F Major abcde i Ine B-Flat Major, 2 i Ihe 2 is 1 1 7 GMinor, iz Minor 2 E-Flat Major, 4 be ° 7o Os =lew 2 1 ir eta AFlat Major 2) FMinor 1 $a $1 é eee B-Flat Minor 13 1 ct D-FlatMajor 5, 4g $ 2 Le 2 i . re 4 2 2 + ein, D-SharpMinor 4g 4 tr F-Sharp Major He bo 2 Sota G-Sharp Minor, 3 a2, E Major aiftoeta C-Sharp Minor ‘ 2 FSharp Minor 1 4 11 ee le ~ ae/ 7 : Three-Octave Scales wudanye Ae paces / ¢ Ht ; C 4 i ¢ i y Groups of twelve notes. PATTERNS: BI, B2, B3, B4, B6, B12 ; RI, R2, R3, R4, R6, R12 Primgry Patterns: 1 it aaa sit aan tas tase, In addition to these patterns, practice all three-octave scales with the Acceleration Exercise as shown in the following example. Make sure the value of the quarter note remains the same throughout, Charee a ting impo at first ( J = 50-60). then gradually increase it. The exercise may also be practiced in reverse ase Retardation Exercise by starting at the end with the thirty-secot nd notes and finishing with the quarter notes. : ates oe ' ae 7 | | Note: Please look at page 19 for alternate fingering systems forthe three octave scales. aC Melodic Minor ° (C Harmonic Minor D-Flat Major is CSharp Melodie Minor ~ 1 strsre 1 ® ie 4 were 4 Note: The lower fingering in the harmonic minor keys avoids the large stretch between the 6th and 7th o degree of the scale. This fingerings is more suitable for cellists with smaller hands< () ©-Sharp Harmonic Minor ot 2 Ch i weer eearenat Or Cx on on . or D Melodic Minor ot Q Gq re ( (24 D Harmonie Minor rye 3 le 2 | oO. (a 4 E-Flat Major 1 2 ° }E-Flat Melodic Minor g 1 1 i o E-Flat Harmonic Minor pee 2 ‘ E Melodic Minor : o E Harmonic Minor ‘A aec (|) FMelodie Minor 1 Q © c 0 oO > R ) F Harmonic Minor teers r . ( D oO ‘2 F-Sharp Major 1 4 O F-Sharp Melodic Minor o 13 15F-Sharp Harmonic Minor ot G Melodic Minor OHHH 1 G Harmonic Minor ot . 12 O A-Flat Major 1 e > i 1 16G-Sharp Melodic Minor 1 f eo» G-Sharp Harmonic Minor ‘AMelodic Minor ot A Harmonic Minor : 1 1 € ts = o 2 7B-Flat Major o ° : 1 : og © B-Flat Melodic Minor 1 ' 4 a ke 3 shehe 2 4 ‘ B-Flat Harmonic Minor B Melodic Minor 18 7CoO oor ore B Harmonic Minor © 5 SS eee : 2 : fot ‘o r Alternate Fingering Systems for Three-Octave Scales. The scale fingerings suggested previously in this chapter make use of open strings wherever possible. It is of utmost importance, however, to know and master a variety of fingerings, Jean Louis Duport (1749-1819) was the first cellist and pedagogue to organize cello technique into a comprehensive and logical system. In his book, Essay on Fingering the Violoncello, Duport advocates two fingering systems which can be applied to all Keys, both major and minor. To retain consistency throughout his Fingering systems open strings are not used in any key (With the exception of those beginning on open C.) Duport's System 1--Groups of three notes for the first two octaves. Flay groups of three notes from the beginning. Tn C and C-Sharp end the second octave with the 4th finger on the D-string. In D, E-Flat, E, F, F-Sharp, G, and A-Flat end the second octave with the 4th finger on the A- string. In A, B-Flat and B end the second octave with the 3rd finger on the A-string, ‘The third octave in all keys employs the fingering 1-2-1-2-1-2-3, Duport's System 2--Groups of three notes for all three octaves. Flay in groups of three notes from the beginning. In C and C-Sharp end the second octave with the 4th finger Gaihe D-string. All other keys end the second octave on the D-string with the 3rd finger. The fingering for the third octave is 1-2-3 on the D-string and thumb-1-2-3 on the A-string. ‘This fingering is excellem fee developing the octave hand shape in the higher registers. Examples: C Major System roog System 2! F-Sharp Melodie Minor System 1 a4 System 2: 12S 1 0 p—tet _ eee wo sees. 195 CG ) Broken Thirds In Three Octaves cee ye D Groups of eight notes. PATTERNS: BI, B2, B4, B8 t RI, R2, R4, RB Primary Patterns: c tle di ils Ls NE a Sa TD | ‘ 1 2,2 492 2 Major Laz 24) Osta te aote® AMelodic Minor , o4 toe 244322 ‘4 132 1 woteti2 342 tee eile 20OCCA AIR A MTR D Melodic Minor G Melodic Minor, 3 r32 ee it E-Flat Major anTes C Melodic Minor A-Flat Major 2 2 2 tr wee 3 143 2 F Melodic Minor 2 2 bake ‘iB-Flat Melodie Minor a 2 F-Sharp Major 2 2 32? : D-Sharp Melodic Minor 21,322 B Major me 2G-Sharp Melodic Minor ees E Major 24F-Sharp Melodic Minor mt B Melodic Minor, to? eae eeT 3 132, le te E Melodic Minor 2742 sod)6 \ Three-Octave Arpeggios , Groups of nine notes. PATTERNS: BI, B3, B9 < Primary Patterns: RI, R3, RI ' DDD na | Key of C G_# 4 142 eae | be = = Minor 4 Flat Submediant Six ZO 0 a zu z 2 yminant Sevent bd 2 Dominan Sevenor® gt She 1 ‘Subdominant Six-four _ 1 et 2 1 mw * Note: ‘The Dominant Seventh Arpeggios contain twelve notes in each measure rather than nine like the other arpeggios. Adjust the bowings accordingly. For additional information and an explanation of the Three Octave Arpeggios please se» page 38 atthe end of this chapter. 26Dominant Seventh of D-Flat Key of D-Flat . D-Flat Minor ; 2, Flat Submediant Six i 4 ( ¢ Augmented : Relative Minor Six 1 Dominant Seventh of G-Flat 2 4 1 L 3 whet ty a? Minor Subdominant Six-Four Flat with Four-three Suspension 1 2 ' at io 4 ° D-Flat Major 2 3 ™ mv at aE 2 1 Dominant Seventh of D 7Key of D : Fiat Submediant Six D Minor : 4 Ave a 2 my an 1 € Relative Minor Six ; Dominant Seventh of G a 2 2 a ate 2 * it 7? 2 if D with Four-three Suspension 1 1 2 io* t C é eC t & 5 is Key of E-Flat HZ 2, Flat Submediant Six ay! 2 ai 11 be E-Flat Minor i Dominant Seventh of A-Flst Relative Minor Six 4 4! jhe fat 4 3 the 4 2 ‘Minor Subdominant Six-four E-Plat with Four-three Suspension ot E-Flat Major 2 a omiv yal 09? 7 "6 Dominant Seventh of E 29Key of E i Flat Submediant Six E Minor Relative Minor Six ne Dominant Seventh ofA sie E with Four-three Suspension ba ot 1 ‘Minor Subdominant Six-four t a Ie 4 209: mnt { ze Dominant Seventh of F = 30 iCOR PANS MAAS Aa 4 Key of F Relaive Minor Six Dominant Seventh of Bla 1 4 13 242. 2,3 24! obe 2 Subdominant Six-four Pt sue Minor Subdominant Six four ‘ F wih Foushree Suspension : ? 2 ° 4 oben ie fbels ee m1 1 F Major nom ee ° + Dominant Seventh of FS 1 i Bae 1 ae 3 1 3hKey of F-Sharp F-Sharp Minor 2 Flat Submediant Six 1 2 atte iat Dominant Seventh of B Relative Minor Six tH zi 3 0? : vit u I Subdominant Six-four 3 4 2 ' 3 32 the 42 tne = ‘Minor Subdominant Six-four 7 F Sharp with Four-three Suspension 1 01 2 a2 ' ° F-Sharp Major Dominant Seventh of G 1 ie 23 eee 3 3 be ls 32Key of G G Minor Flat Submediant Six ‘Augmented 3 ' 1 Dominant SeventhofC 2 ; tithe 4 fe 228, 23! dhe 2 Relative Minor Six ‘Subdominant Six-four ino Sobdoninan Sicfour 6 with Fourie Suspension : ; 2 o 3 the ra ets Vv mt I ° G Major Tarun ° “ Dominant Seventh of A-Flat ' 323 ' 2 33Key of A-Flat A-Flat Minor 4 2, Flat Submediant Six > ' Pai 3 23 fei? 113 be 2 a bee =the 2 be u 1 0 é 1 ‘ aes L sys Shae 3 : vom ow 1 : Ratanaleanee i Domine Seen of Dt “ ete sister : 1 She Tei 7 0 vo a vom on 1 Wm n 1 q Subdominant Six-four 3 “ 3 ‘ 32 abe? a2, 3 ale a fe tint i ; 0 tr a y Minor Subominant ‘ Flat with Fourthree Suspension G ay! 2 ot 4 b. ates 1 9 g 13 ght 2 atat 93 ‘4 (Gi voomm ot ( 3 9 /A-Flat Major 2 < ie 3 a “ « 5 Ete 7 0 ro mw ae 3 t 4 Dominant Seventh of A 34 ;Flat Submediant Six Relative Minor Six ' Dominant Seventh of D » r ORO AOR > ‘Minor Subdominant Six-four ‘A with Four-three Suspension 32 he eee at 1, ou 1 2 ad Poaceae Dominant Seventh of B-FIat 3 VvKey of B-Flat B-Flat Minor UL Flat Submediant Six 1 2 sibet Ud a? ; abet ay? Snes 0 Relative Minor Six 1, ‘Dominant nt i 2 . be 7 ; sobtaminn Sour : Oy A a a nr Sesuninan Stes : ra wih Founda Stpeson ; ; ; 3 = 3 2 2 9 ee othe bee? 2ies ae’, QO wile 22 etter g vw omn 4 & ° ‘B-Flat Major 2 t e ; 2 ate : = : a) 4 Dominant Seventh of B Ub = Ibe S >Key of B B Minor m3 Relative Minor Si 1 2 ‘Minor Subdominant Six-four 1 2 22st Dominant Seventh of C 3 3 1 2 Ips 20 2 tle = ‘lat Submesiant Siz v m 1 2 37‘An explanation of fingerings for the Major and Minor Arpeggios in Chapter 6, “Three-Octave Arpeggios": A) Above the Staff r ‘The fingerings above the staff are the standard fingerings used for the Three-Octave Arpeggios. They ‘ are also very useful for the Four-Octave Arpeggios in Chapter 9. (These standard fingerings appear below the staff in the Four-Octave Arpeggios.). See page 55, "B) Below the Staff", in chapter 9 for farther explanation. B) Below the Staff § ‘The fingerings below the staff utilize the thumb. It is important in modern cello playing to be able to i shift effortlessly from the lower to the higher positions using the thumb. ‘ cf In addition to the fingerings notated in this chapter, fingerings given in the examples below will work for all ‘major and minor arpeggios in root position. Examples: D Major oy ‘é eet + - 38 :x ‘7 ‘ Four-Octave Scales Groups of eight notes. PATTERNS: BI, B2, B4, BB RI, R2, R4, RS » Primary Patterns: 4 QUID GGT STE ST a: aa Fae C Harmonic Minor C Melodic Minor Note: Please look at page,48 for alternate flagering systems for the four octave scales. ) | } 39Sharp Major 1 tea ! setae C-Sharp Harmonie Minor ove 24 C-Sharp Melodic Minor 40Leaieten i D Harmonic Minor ( we T a r ¢ a 3 1 Tee 2 (} DMelodie Minor wheats thebes O ~ ¢ = “4 a Q ‘a C2 a : Stes (2 EFlat Major 1 eet © : pacttten E-Flat Harmonic Minor ® aL' 13 * 1 ahehe thebe E-Flat Melodie Minor taal a at o 2 ee Ae Hee Sie oat E Harmonie Minor : xa CO E Melodic Minor Ue © 42In = ile my th lee F Harmonic Minor F Melodic Minor 4 qa 4 , a a F-Sharp Major ~oOe ue BR ea 43Th F-Sharp Harmonic Minor a F-Sharp Melodic Minor a fet ee cae ee ed aS tr 3 : ‘4 ' 2 G Harmonic Minor a 2 eles t q( 4s ARN KL A G Melodic Minor A-Flat Major G-Sharp Harmonic Minor G-Sharp Melodic Minor a4 45‘A Harmonic Minor, * 2 A Melodic Minor , B-Flat Major 46TV ORNA Oe ‘ ie a rc L U > t ¢ 1 1 2 ae 2 B-Flat Harmonic Minor 1 isa’ 1 a acietee, 1 2 = lis ~ lie 1 B-Flat Melodic Minor , 1 fast 1 2 BM: os fajor 1 aoe 1 ose e B Harmonic Minor 47B Melodic Minor Alternate Fingering Systems for Four-Octave Scales. {In addition to the fingerings notated previously in this chapter there are two fingering systems shown in the examples below which can be appli throughout these two systems open open C.) ied to all four-octave scales, both major and minor. To retain consistency strings are not used in any key (with the exception of those beginning on System I -- Groups of three notes for the entire scale. The third note in the scale should be played with the first finger. Thereafter, play in groups of three notes. System 2-- Groups of three notes for the first two octaves. Play in groups of three notes fom the beginning. For the keys of C and C-Sharp end the second octave with i the 4th with the 4th finger on the A-string. on the A-string. The upper two octaves Examples: C Major System | sysem 2” ' D Major System 1 System 2: D Harmonic Minor System 1 System? 4 D Melodic Minor System I: System 2: 48 inger on the D-string, For the keys of D, E-Flat, &, F, F-Sharp, G and A-Flat end the second octave For the keys of A, B-Flat and B end the second octave with the 3rd finger are always fingered 1-2-1-2-1-2-3. 22 2 sos Iso = We ne 6 » “8aN i Sets aw 8 Chromatic Scales in Four Octaves Groups of twelve notes. PATTERNS: BI, B2, B3, B4, B6, B12 RI, R2, R3, R4, R6, RIZ Primary Patterns: i hem as Also slur two measures. 4950SI 3 abe abe bb obe 2F-Sharp / G-Flat= = & 3 } @ SS wee beB-Flat (Three Octave) B (Three Octave)‘ 9 Four-Octave Arpeggios ) Groups of twelve notes. PATTERNS: BI, B2, B3, B4, B6, B12 : RI, R2, R3, Rd, RG, R12 Primary Patterns: 3 » (QTR Ga oA AT : oO Four-octave arpeggios should also be studied as acceleration exercises. For arpeggios containing twelve notes use 2, 3, 6 and 12 notes to the bow, For oO arpeggios containing sixteen notes (Diminished Seventh and Dominant Seventh) O use 2, 4, 8 and 16 notes to the bow. For an explanation of acceleration exercises G please turn to page I. O Explanation of Fingerings: oO I. The Major and Minor Arpeggios have two basic fingering systems notated : © A) Above the Staff oO For the top octave two different fingerings are suggested: 1-3-1-3 and thumb - 1-2-3. The second of these is notated only in the keys of C and D-Flat (pages 56 and 57) but should be used in all keys. B) Below the Staff (These fingerings are also used in Chapter 6, "Three Octave Arpeggios.") : These fingerings are the standard fingerings for the Four-Octave Arpeggios and are the same for all keys. Play three notes on the C string, three notes on the G string, three notes on the D string, and the last four notes on the A string. Two fingerings can be used for the last four notes on the A-string: 21-23 ot 2 54 52d The second of these is notated only in the keys of C and D-Flat (pages ‘56 and 57) but should be used in all keys. IL The Subdominant Six-Four and the Minor Subdominant Six-Four Below the staff: These fingerings are created to develop the use of the thumb. 5SKey of C é Minor ‘i Major 7 Augmented 7 3 4 L 2 1 4 [> 7 : = 4 ite 1 ay ( 0} Relative Minorsix Wo #2 44 7 oo pees 2 4 O ‘Subdominant Six-four t 12 32 1 oy € 4 2 3 2 fe 3 2 2 ze eT 7° ae ™ 4 ot m 1 ° 1 Q Vv 1 4 ‘Minor Subdominant Six-four 3 = : : j - ee ot i ot 9 a 1 b Vv 1 . Diminsted Sevenhof Fat, 4 nada ull = 7 ru 7 aw, we hs il y JFL ® Domina Seven oft, i i ry} 1 438 56 Vv ;(> Key of D-Flat 3 I 2 2 ‘ ot See: a () D+Flat Minor 4 TesE eee cae 4 “t 3 O ¥ bd 3 12 1 3 , me ott 1 ae 3 2 2 “ Oar aeeeeeo - Voy Beat Maoe 14 cas abou ere ©) Augmented 7 3 1 peat a! 1 3 Relative Minor Six 2 sHaee ernest Ate Ine ae » ‘Subdominant Six-four Bt 1 14 mn ¥ t Minor Subdorminant Six-four G t “Dominant Seventh of u 3 now 7 Seren eae yt daa fat a +32am ” “Ler o- Relaive Minor Six ae te = see = a Subominant Six-four NF, ao Pec ethartin 3 ee 9 mm : Diminished Seventh of E-Flat mt Sie ee Dominant Seventh of Fit HE m, a4 t 58WOES Fh ACPA nie Sto SoGrr oo Key of E-Flat E-Flat Minor 2 E-Flat Major 4 13 : S oa * Relative Minor Six lew I, - ‘Subdominant Six-four ati 3 = 13 mo 0 Minor Subdominant Si $13 mo 9 Vv Diminished Seventh of E ce ett weKey of E be E Minor ee ; Augmented Relative Minor Six nz ee lee Ibe ‘Subdominant Six-four ra ‘i 2 2‘Relative Minor Six 3? 3 bata Oo oO i) - atta 3 () SubdominantSix-four gt Teer HE ea Cen my O =F = O 0 oO 1 im : 4 » i : 3 ©. Minor Subéominant Six-four 7 2 zy ‘ t Ta o 4 ' Dominant Seventh of F-Sharp ye ‘ 4 > eet teg eet ' a 2 4m 2 2? Oy See ary 7m 1 ’ o i u WvKey of F-Sharp 3 F-Sharp Minor 1 ate 2 bs Hie ~ Lew F-Sharp Major i Augmented Relative Minor Six 7 ate tata, aati Subdominant Six-four 7 1 i: 2 2 3 1 mo Vv Minor Subdominant Six-four 1 mT Vv 1 Diminished Seventh of G tg sw Ie - We ‘nm 0 1 3 Dominant Seventh of G a2 zy Mm ete) me Ts da ee Bae)! 62c (Key of G oO (1G Minor (1 Augmented a 3 ( tbe 2 BEES rc = ( ~ = = = + ‘ = aa T 1 ( 3 : : 2 eae Sey poet CO RelaiveMinarsix Fg a2 2 Eanes oO ce oO C eet 12 7 a oO See Liget e34 — — O SE = ‘ “FO : c m 0 i spinor Subdominant Sif tt ae Minor Subdominant Six-four 11 1: gt . Hist ibet ties abt theo? 1! mt Vv Diminished Seventh of A-flat 7 4 u 1 m Dominant Seventhof A-Flat yf : moi 4 th Peper 5 oaaae L amKey of A-Flat A-Fist Minor 1 iz Le = 7 \* 7 6 iF A-Flat Major q A ited t ae SEE 4 at Sei ot = a = 7 oar 7 2 » 1 ! 1 2 3 2@e,e? 4 if Relative MinorSix 3g oe 2 = hea. eae atte. ba cf OF 3 ( 1 2 2 3 O, Subdominant Six-four 2! I a3 fe) ae cf it at on 7 1 ur Iv 1 a, Minor Subdominant Sixfour 2 1 3 gb: 13 at 1 am Vv 1 Diminished Seventh of A IL nm 4 va <1? : 4 1 ‘ wm o 3 1 Sees ' i y Dominant Seventh of AI 3! oils, eo a m m 0ce \ ( \KeyofA a 3 ( e ecittenes sae c. AMinor 9 y 4 1 2 ‘ ‘ HC rf r o © a ee 1) BE te ¢ K a subdominant Sir 3 amy 2 A ted & ° 3 Dore : am ey vinosisongatsicie HY ties be Te 7 FF 2 4 mat ininsnetseenborB-Rat 1 4 7 um Vat Sete oe = i T 7 7 1 tr 1 Dominant Seventh of B-Flt is m Mle a ee ese ein : ' a wu W v 6Key of B-Flat i B-Flat Minor oT o B-Flat Major + beta ar : 2: : O lative Minor Six 3b Sct = Hii : 3 vo 1 I 4 ‘nant Si: at 1 * Subdominant Six-four as 2 4 my 3 Ta fec0, o 4 m I v 3 Vv Dominant Seventh of BKey of B oO () Augmented O SE oO oO ¢ 7 1 (J Relative Minor Six rh as : © tiie 4222 2, f2i0, ee 2 == * «3 2S = = | ( voor ut Subdominant Six-four TL > + 2 IW m I Diminished Seventh of C ‘ 1 ns r4 le to a ale m wow oT Dominant Seventh of B 1 " ) mo24) 4 at 6710 ) Scales in One Position ; Groups of eight notes. PATTERNS: BI, B2, B4, BS, B16 ‘ RI, R2, Ré, RB, RIG Primary Patterns: } t 1 GJ)! GOS aT SERA 2 Practice each line on page 68 and 69 as a major and minor scale using the first note as the tonic.* In addition, practice each line in all other keys.** atee oO ett 7? ‘Gatring Dtrng—Arstring Costing() The higher positions. Cstring G-string Destring —A-string + Example: B Major . C Harmonic Minor : i: eae sh a te ro)11 { The Chromatic Scale In One Position Groups of twelve notes. PATTERNS: BJ, B2, B3, B4, B6, BIZ RI, R2, R3, R4, R6, RIZ Primary Patterns: {MOO ARAN ADI THAAD q 4 } i i 1 } 5 Pecos2S L be T 3 ° ' B12 oe Broken Thirds and Fourths in One Position ty Broken Thirds in One Position Groups of twelve notes. PATTERNS: Bi, B2, B3, B4, B6, B12 RI, R2, R3, RA, RG, RIZ Primary Patterns rc c oo L fan anaADk oe TR aEDl &. 5 c t Also slur two measures. “Allexercises inthis chapter should be practiced in al the Keys Start with D Major in the Fast exercise, F Major in the second and A Major in the onic, Begin all exercises on the C-string. ve third etc. using the first note as the 12913053 ‘Lower Positions : 197132 ate tee itt 9 a5! 2013093 2312015 043 Higher Positions Sateen se Bee 243 23203 Oe ee eae ° 23129150 feotee a3 This may be continued into higher positions. 74Practice in all the keys, Groups of twelve notes. PATTERNS: BI, B2, B3, B4, B6, BI2 RI, R2, R3, R4, R6, RIZ Primary Patterns: : : - 1 fan OMmmsi Also slur two measures. This may be continued into higher positions. 7513 a Arpeggios in One Position Q (Using the Thumb in the Lower Registers) ; Groups of twelve notes. PATTERNS: BI, B2, B3, B4, B6, B12 RI, R2, R3, R4, RG, RIZ Re Primary Patterns: 1 Ot Manas it SanADD | 3 16° mr I lew ® 9 she Ine ® ne 7Ca 8a4 ol o att oo «4 798182he 83; 14 Scales on One String Groups of twelve notes. PATTERNS: B1, B2, B3, B4, B6, B12 RI, R2, R3, R4, R6, RIZ Primary Patterns: 4 ammo MATA AS if SORA | Practice this exercise on all four strings in all the major and minor keys. ) ONE-FINGER SCALES Written for the C-string. Practice on all four strings. oo 9 TWO-FINGER SCALES Written for the A-string. Practice on all four strings. 853 3 ae 3 on to « 1 22 Written for the D-string. Practice on all four strings. 3 3 3 86 ‘THREE-FINGER SCALESWritten for the G-string. Practice on all four strings. ) FOUR-FINGER SCALES eo ow oe of oa “4 ew o4 8715 Broken Thirds, Fourths, Fifths and Sixths on One String THIRDS ON ONE STRING Groups of twelve notes. PATTERNS: BI, B2, B3, B4, BG, B12 RI, R2, R3, R4, R6, RIZ Primary Patterns 1 PAA at OOM SaA A Also slur two measures. Practice in all the keys. Seven different fingerings are given and can be applied to any string. The two O fingerings shown on the first system are the standard fingerings for broken thirds, These should be mastered before experimenting with the other fingerings showa later. In the first bar, depending upon the key, use either 3-2 or 4-2 on the notes where no fingerings are given. AString . « ) > 322 3 4 Stason « weer 2 1 2 ) A-Strin, 3 493 : 30213021) 9232031205 . H - 3 3 ; * 2130 2 id ozo 21207! 1703, 26 ) A-String 313 313y3 ) a sya epee 813, 3 5 ‘) ere = ) A-String 2424 ete ) a8 lo ) , v3 ee : 3° , 88._ FOURTHS ON ONE STRING Preparatory exercises for fourth interval artificial harmonics) Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, BIZ RI, R2, R3, R4, R6, RIZ Primary Patterns: : HE : i tonInAD om Mmi ( Also slur tvo measures. a ) Practice in all the keys. All four of the following fingerings may be applied to any string. O © e-sering oO 89FIFTHS ON ONE STRING (Preparatory exercises for fifth interval artificial harmonies) Groups of eight notes. PATTERNS: BI, B2, Bd, BS RI, R2, R4, R8 Primary Patterns: {O00 | mara Also slur two measures, Practice in all the keys. This exercise can be played in two different ways: 1) by shifting in the traditional manner and maintaining the stretch of a fifth throughout. ae a TS ao 2) with "creeping" fingering. (Distance between the thumb and the third finger varies). CString 3033 G-Striny ga ete 53 ee oe fa 3 D-Swing 9 ASteing See. 90“ SIXTHS ON ONE STRING 1, Groups of eight notes. PATTERNS: BI, 82, B4, BS .) RU, R2, RA, RB 7 Q Primary Patterns: NP {OTD FAA AR AS oO Practice in all the keys. This exercise can be played in three different ways: : a 1) shifting one step while maintaining the stretch of a fifth y ; ; 3 ; 2 2) maintaining the stretch of a sixth throughout (in the manner of tenths) This is only possible for cellists with large hands. ) 3) “creeping” fingering (distance between thumb and third finger varies) CString SEEEa HEH. ate J GSteing ‘ Sette 2° a2%5o Dswing gs A-Steing 23 a116 « Arpeggios on One String TRIADS ) Groups of twelve notes. PATTERNS: BI, B2, B3, Bd, B6, BIZ RI, R2, R3, R4, R6, R12 t Primary Patterns: 4 DID SAAD) TIAA Written for the C-string, the exercises in this section are to be practiced on all four strings. C Major 3 Minor © QO Diminished epee Augmented pee r) Q Q oO D Flat Major Ree D Flat Minor Teac 6 ba ' 3 ) O * a m ini ment 3 = Diminished ea ave ial ) oO v p oO D Major eee D Minor pelea ) 0 oO sy Diminished ce ‘Augmented sete i) ) 92)—-EFlat Major E-Flat Minor a Diminished 2, Augmented ( EMajor 7 E Minor ' be ( oO ¢) Diminished ete : ‘Augmented ee Oo @ ) = > ) FMajor 1 F Minor 13 = Augmented a ee F Sharp Major igh Sharp Minor ® a Diminished 3 Augmented @ mo 93G Major Ha ePtasatar} G Minor eysiae"cnleiary 3 Diminished nec ‘Augmented Seats A-Flat Minor ® 3 A-Flat Major ® 3 Augmented ° Diminished @ 3 AMinor 3 AMajor >) he 3 B-Flat Minor @ prune > be ated 3 babe £ In - ‘Augmented @ Diminished # )95DIMINISHED SEVENTHS Groups of eight notes. PATTERNS: BI, B2, B4, B8, BI6 RI, R2, RA, R8, RIC PONG! SMT | Written for the C-string, the exercises in this section are to be practised on all four strings. ( ) ) ) 5 5 ) é ) e 5 Primary Patterns: ) < 3 5 > ) ) 5DOMINANT SEVENTHS Groups of eight notes. PATTERNS: BI, B2, B4, B8, B16 wy RI, R2, R4, RB, RIG Primary Patterns: MereB ere) Brerreritcrirrr) ( Written for the C-string, the exercises in this section are to be practiced on all four strings. 717 Scales of Varied Length and Different Groups of Notes Groups of five notes. PATTERNS: BI, BS ‘RI, RS Primary Patterns: (OO a al Practice these scales in all the major and melodic minor keys. The fingerings notated should be ‘applied to all keys. 98Groups of seven notes. PATTERNS: BI, B7 : RI, R7 Primary Patterns: : 820 MTTGroups of nine notes. PATTERNS: B1, B3, B9 RI, R3, RY Primary Patterns: smal 100 chs aeeca18 / The Whole-Tone Scale Groups of twelve notes. PATTERNS: BI, B2, B3, B4, B6, B12 RI, R2, R3, R4, RG, RI2 Primary Patterns: . {OOM asst san ll GRANT FARA Also slur two measures, oO () ON ONE STRING ) oO Oo 101THREE-OCTAVE SCALE Groups of nine notes. PATTERNS: B1, B3, B9 RI, R3, RO Primary Patterns tT Ga 102 42 fete ‘ @ 10319 5 A Few Non-Traditional Scales and Arpeggios The scales and arpeggios in this section are intended as introductory study material for contemporary music. 4 Each exercise is built from a basic interval or series of intervals indicated by the lower bracket and regularly x 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. In addition this chapter is also a great tool for ) developing fine intonation. A SCALES > Groups of nine notes. PATTERNS: BI, B3, B9 < Primary Patterns: ssa Eee tteeeeeeeeeaeeeeeSeee 5 8 ml TTT I QO DTD GT TTA IT [o) ) O 3 Q ) 4 ) S 9 2 ; oO ) oO QO @ co ) 'O O i105LO aC ee ee ees or LCE kee Ow ao oe DEa Groups of twelve notes. PATTERNS: BI, B2, B3, B4, B6, B12 O RI, R2, R3, R4, R6, RIZ : : Primary Patterns: ee 0 ton ana Ap aor Also slur two measures. 107108ARPEGGIOS Groups of twelve notes. PATTERNS: BI, B2, B3, B4, B6, B12 RI, R2, R3, R4, RO, R12DORE OR en NAAN DAA AN 110nLWE CGS oS ass ‘tee u CUD Conn OaroO © 0 O > *, Groups of nine notes, PATTERNS: B1, B3, BY © RI, R3, RO ». ie) Primary Patterns: * » 8s c igs Also slur two measures. 113PENN ER INN PON TEN ES OE ate OO 4