a7 VI. Preliminary Open String Exercises In simplest Bowings and Note Values I. WHOLE NOTES fl of the bow to be used for each note, taking care to draw ihe Entire length , {rom Nut to Tip (Down Bow M) and from Tip to Nut (Up Bow ¥) in line with the Brideet Down Bow (n) to start with edge of hair on string, gradually straightening the bow with the turn of the wrist,until at the Tip the full width of the hair rests on the string. ‘The opposite movement of the nist and turn of bow takes place with the Up Bow (V) bow in a straight direction All these exercises to be practised in moderate speed and with full, round tone. Co } Open D string.......... Open A string......., Open E string un yom iy ° Estring .. ~, Astring.... D string ... nV poe, OS EIOG Cll vo os Goount 12.8.4) noy dl al os os (count 12 8 4) A v (count 42 8 a) ‘ Ky yv 4G dl al (count 1 2 8 4) A = a ce PT by Cart Fischer Inc., Ne18 Slowly nA Examples of how pre-] Pupil ceding Whole Note Val- ‘ues, with simplest bow- ings may serve ax the basie of,and in connec- mf Vv tion with melodious pro-| Teacher gressions. z a l|o silo ls ® (with strong, even tone) of Slowly Pupil ® Teacher strong, even tone) ny mf aA 8 Il. WHOLE AND HALF NOTES The playing of half notes demands a shorter bow stroke, either with the upper or lower half of the bow, a surer and more decided change of string, calling for closer attention to wrist movement and bow control. First attempts at smoother string transfers are to be made through change of string in one bow (slur) and a more rapid action of bow as necessitated by alternati 1 whole and half notes. All these exercises to be practised in moderate speed and with full, (count 12,3 4) nv round tone, (count 1 2, 3 4) (count 1 2,9 4) ny A a BZ (: *) The Slur: meaning notes thus connected must be played in one bow. 29608-38 Rest)19 aa (ext) First use of different note values in succession, (count 1284) (12, 84) A Vom so (In March Rhythm) A v Pupil Examples of how the above Whole and Half Note Values, with simplest bowings ‘may serve as the basis of,and inconnection| (A) Se ea with melodious progressions. yA Teacher of (Like a little Slumber Song) y n v, Pupit a ® (with ston, oven tons) nv Teacher oo tee mf 236063920 Ill. SKIPPING OF ONE AND TWO STRINGS ‘The skipping of one or two strings calls for increased surety of bow control and demands clean fin - ishing of the first note (giving exact time value) and equally clean start of the new note, without any accompanying noises or undecided placing of the bow. The change, either to a lower or higher string demands skillful balancing of the bow through firm finger control of the right hand. All these exercises to be practised in moderate speed and with full, round tone. (count 123 4) A I ro (count 12 8 4) v s s s s dl qd) s (In march tempo) in Whole (also in half) Note Values, | = caer eerie] @. | ethane on Teacher of (more rapid skips) ny, Pupil ® (with strong.even tone} Ay Teacher mf 2606-38aa IV. QUARTER NOTES Individual quarter notes, unless otherwise marked, are played with short, energetic strokes at the mid Jdle of the bow. The change of string for these shorter note values demands increased rapidity in wrist land bow action. The two slurred quarter notes of the third group, are played with the upper half of the bow; but as a special exercise for the wrist should also be practised with the lower half of the bow All these exercises to be practised in moderate speed and with full, round tone. (count 1 2 3 a) 5 (count 42 8 4) 1234 juarter & Half Rests) (count 1 2 3 4) MI asia) G mY y ms (Quarter Rest) Evening Promenade In moderate tempo myn Pupil Examples of how the above Quar- ter Notes, with simplest bowings may a erve as the basis of and in connec-| @) with strong, even tone) tion with melodious progressions. yon Teacher of In the Swing Gracefully Pupil Pe ew ® Cuithgfrong, even tone Teacher mf 2606-9822 V. SUCCESSION OF WHOLE, HALF AND QUARTER NOTES A succession of notes of different time values such aa are contained in the following group, demands] uniform,even bowing and good control of tone production regardless of either the up— or down— stroke] Practise in moderate speed and with full, round tone. (count 1234) vy s s Fragment from a “Christmas Hymn” Mendelssohn. n Examples of how the above Whole, | Pupil! Half and Quarter Notes with simplest yy bowings may serve as the basis of i : and is" consecin vith weledione] © {th eo em to progressions. n Teacher mf < ) is produced by a rather sudden and strong Bressure of the right-hand fore-finger upon the stick of the bow and relaxing again almost imme- diately, The fifth and sixth of the fol-| All these exercises to be practised in moderate speed and with full, (count 1 apd 2 and 8 4) (1 and 2and 3 4) nv == | $e Se gv round tone. 23606-3825 (land 2 and 8 4) (1 and Zand 8 4) nv a 4 2 Sand) (1and 2 8) mv my s z (1 and 2 and) (1 and 2) my my SS >> - = Bigen (1 and 2 and) (1 and 2 and) Rest) n 5 = > (ar Nut) vce 2 (and 2 Sandiand2 9) miev 6 y = = = Little Hungarian Dance In lively tempo ‘Examples of bow eighth-notes] Pupil {abate at Pe Ss ee with other varieties of notes, > > > With simptet bowings, may] — @) serve as the basis ofand in con-_ 4 oles ra nection with melodious progres-| ae Teacherae A French Folk Song In march rae Pupil (Geith stroagjeven tone) Pleasant Journey In moderate tempo Pupil © Teacher “Twith strong even tone) Nita " ee Tyrolienne in Laendler tempo A Pupil ® (i otrong even Gb trmgevn tn] Teacher nf