THE DOFLEIN METHOD The Violinist’s Progress A course of violin instruction combined with musical theory and practice in duet-playing by Erich and Elma Doflein Text translated by Philip Marler Volume 1: The beginning £D 4751 Volume Il: Development of technigtie within the fist position... ED Volume ill: The second and third positions ED 4753 VolumelV: Further technique in bowing and fingering hielly in the fest position ED 4754 Volume V: The higher positions (4% to 10% positions) ED 755 Progressive Pieces for three Violins Volume 1. .£D 4756 Volume Il. . ED 4757 Volume Ill .. ED 5160 SCHOTT Mainz - London - New York - Tokyo © Schote & Co. Ltd, London, 1952 + English Edition: @ Schote & Co, Ltd,, London, 1957PREFACE “The second volume of the “Vielinist’s Progress” offers se. Sal for the development of tedmnique in fingering raarspauing together with new musical problems. As far we Gonble each capter is devoted to one definite problem: wees Often the chapters deal with technical aspects of welteeplaying which fater on will constantly reappear in voone difkcule form, and which are here already intro- Moeed in a simple manner, in order to make the student eeStainted with numerous ways of playing as early 35 possible. “This applies in particular to the exercises in different inde of bowing, It is intended to foster in the student Sready at this stage & certain appreciation for the many seticess of just this aspect of technique. A desirable aemection of faulty holding and manipulation of the bow > .: S % Pr = 11h he permnion fhe ign pulishers, Univers tion, Wiens hy Univeral Bon, Wen, 18257, Exercise using three strings foo ages e 3 e Bowing 1) 2) 2 a 5) N, Mar ON, Map rentice’ German folk-song 58 The apprentice's farewell Sere the time to |arieve, for and for, for Frankfure t must Heave, so [rt no more for. |Frank-fure care, Buc - look a - round the — |Lordknows where: | seek my for -tunes | on theroadand | wan - der.59 The scales of B minor 1 : ‘)heraot e FY ade . To which major key does B miner belong? 60. Minuet : 17th cent,61 Minuer Wolfgang Amadeus Mozart (1736) 5 = x NV Aa n pee ee eee eet Pater Minuet Da Cape 62 The Friendly One Old English dance (1700) iy. . «0 v EDT ac eas cas ee nace ne en ec22 63 “Good evening, dear fiddler” A y ‘Oh; good even - ing, dear fd - dler how are you today? v , _\ Come tske wut your ti» ny fid = dle, for we'd ike you to play. The ett - les shall rate - le the y, i pote shall re sound, when all the young lat» see are prancing 2 + round Ta-b-eheheb - - b Variation > > from John Playford 64 Fiddler’s Dance (with variations) ‘The Division Violin (1685) = 68 4, 65 Ostinato Paul Hindemith (1931)23 66 Dance Carl Orff 981) = Arranged in two parts 67 Chorale Peacefully by Kaspar Othmayr (1547)4 68 Solo piece Calmly Paul Hindemith a) me NSFte PRS 69 Maidens’ Dance English 1700) 70 Exercise Heinrich Ernst Kayser (1884) Allegretto 4 4 4 ‘em 71 Prelude ererer v (4709) 72. “Always be merry” ta— Fey Valentin Rathgeber (1733) Trinlets 73 Excuse Allegretto Sa ati aoas 74 One, two, three and four The bar with the Ep Pp should be practised frst. It should be played before commencing the exercise, and from it the time forthe p should be taken, == Das farhaetextess| ae Friedrich Schwindl (1737 irae 1786) 2 —————— z 76 Rhythmical exercise Calmly Papil26 Triads 77 Soldiers’ Song 4 78 Gigue un Robert Kings (718 79 Study (quick waltz) Bartolommeo Campagnoli (1751—1827) Allegro > n > ae = |,7 80 Exercise in triads Heinrich Ernst Kayser 81 Broadly Paul Hindemith (1931)