AUGUSTIN KOLAR DENNI CVIGEN[ PRO HOUSLE (SYSTEM KVINTOVEHO KRUHU) TAGLICHE STUDIUM FUR VIOLINE (QUINTENZIRKEL-SYSTEM) DAILY EXERCICES IN VIOLIN TECHNIQUE (THE CIRCLE OF THE FIFTH-SYSTEM) aw Plans floyp he PRAHA 1968 EDITIO SUPRAPHON, FRAHA-BRATISLAVA ataINTRODUCTION To devote one hour daily to exercises aimed to improve instrumental technique has become an established and necessary tradition among practising musicians all the world over. The present-day mode of life requires of the profes- sional violinist the utmost economy in the planning of his daily time-table, expecially then in his daily exercises in technique, the study of new repertoire and rehearsals, ete. For the purpose of daily practice, I have, therefore, compiled this volume, ‘Exercises in Violin Technique’ (System of the Circle ofthe Fifth). Their aim is to get the player's hands loosened up and, at the same time, to help him to improve all the elements of violin technique and to acquire and maintain the level of technical accomplishment necessary for his performance as an instrumentalist. These technical clements of violin play are incorporated in musical works, and 4 we must check up on and seek to improve them by regular practice. The system of fifths is aimed at introducing a certain order into the daily exercises, and I prescribe what, how and how long the violinist should practice daily in order to perfect his right-hand technique (tone eater and volume) and i left-hand technique (intonation, vibrato) and increase the flexibility of both hands. ve worked out, in the circle of the fifth "24 Practice Days’, each of which contains finger exercises, exercises for changing postion, double stopping, scales and three types of bowing exercises: basic (A), bowing acrass.the-sirings (B) erteafo and harmonics, etc. thythmical bowing (C), then chromatic scales t Tel All ExereHeTMN Technique shoute-bé carried out Lowly, Nfrefully dnd qofiscientiously) never hastily or perfunctorily. In addition to the prescribed repetition, we should repeat only what we have not mastered. Finger-exercises must be carried out with particular care; we should never go through all of them in a single practice day. I present a selection, and the same applies to the three types of bowing exercises~A, B and C. We must always watch our_i It is not enough, however, to keep a constant check on purity of intonation, we must also keep in mind purity of tone, ds. A good technique ie yo 8 Pract Dae ens seine line een ea a ace rn ron bed nny en many yn pg expert, Dt a0 Ren pon ry 1 ted training drill, a necessary conditions for a successful cure is the weular taking of the prescribed drugs and Bac eign oon Cnn > Rec se dele ungated Soy ot 1 bec grea te pe ee “Senco ir ne wren pi ly ei peserence Teros way nine te eof wil roprcney emofemcing eng em of in le pe sonatas, ete., in-our repertoire. ° " ‘Daily, or every other day, we should go through a Practice Day, proceeding from No | to No 24. However, only the regelar repetition of the whole cycle can lead toa high standard of perfection. “Spal Bane aera Append) ae srmngd cone the spect of oe vine) Through them we acquire iphinest 0d fez in varying the tone volume inthe bowing band, qualiternecetary forthe interpreta- a a ne ber busic works Ici uffcient to practice 23 bars (rom each example. nomad Oo oe ad which the exercises are taken within the individual Practice Day may be varied in accordance with anc player's wishes, Finger exercies may be taken altematly with bowing Esercises A and, similarly, 7 Position may be followed by Bowing Exercises B. : imilarly, Changes "The ime required for covering the content of single Practice Day depends on the individual level of the player. rahe player has not yet acquired « mastery of one or other of the technical element, the time he tales to go treeehh the ph otncibed practice will be longer than that of the player who has. Naturally, the regular Fepettiow of te Practice Daya will automatically lead to a shortening of the time required to get through We should look upon the elements of technique a3 ae “BS musical elements of our play, namely, Seauty of tons? fGrity of intonati tnd fine in za : as Be sre edhe cds winds), we do Dot make we of d 4 ‘and broken (triads), we use of direct—gliding fin : — osdes te social coeeave itsende (ee appendix). Such Bagcring may Be uae, heres oe a oF Position, in tached forms of bowing, such as spiccate etc. however, along ¢ various de- Tn conclusion, I wish to express my thanks to all who have helped me with vah iggestions. Among these I would mention expecially my former teacher, Prof. and the leader of the Prague Quartet, Bietislay Novotny. Translated by R. F. Samsour d luable advice, critical remarks and E. Baré, then Prof. Henry Marteau Augustin Kold?Damit Melodien und melodische Passagen im raschen Tempo klanglich rein und ohne Glissando erklingen, wechseln wir manchmal die Lage nach Moglichkeit durch Ubergriff. Darin konnen uns die Klavierspicler als Beispiel dienen, die ununterbrochen die Lage durch Ubergriffe wechseln. Wir Violinspieler spielen auf diese Art bisher nur in den hohen Lagen, ohne zu wissen, welcher Ton in welche Lage gehért. Lernen wir den Lagenwechsel durch Ubergriff schon von der ersten Lage an und mit jedem Finger. Ich empehle auch in allen Lagen und Zwischenlagen zu spielen, weil nur in der I., III, und V. Lage zu spielen, heute als veraltet und nicht entsprechend gilt. Im Konzertsaal gehen infolge der Entfernung zwischen Spieler und Publikum manche Kleinere klanglichen Unreinheiten unter. Das Mikrophon jedoch reproduziert sie, besonders Glissando (mag dieser noch so klein sein), in doppeltér Starke und enthilllt sie auf diese Art, Daher erfordert das Spielen fuir Schallplattenaufnahmen (Mikrophon) einen sorgsameren Lagenwechsel und Fingersatz (siche ,,Anhang"). Und zum SchluB noch drei wichtige Regeln: 1. Jede Strichdbung verbinden wir mit improvisierter Dynamik. 2, Jede Ubung des Lagenwechsels verbinden wir mit Vibrato. 3. Alles tiben wir so, als spielten wir in einem Konzert, und im Konzert spielen wir dann wie zu Hause. Der Kempunkt aller Ubungstage ist immer dic Tonleiter — Tonart — an diesich die anderen technischen Element anschliessen. Jeder bungstag beginnt mit ausgehaltenen Ténen mit verschiedener Dynamik und Vibrato. INHALT EINES JEDEN UBUNGSTAGES 1. Tonleiter und zerlegte Dreiklinge: - a) liber die Saiten in einer Lage von den Lagen I.—VII. - b) auf einer Saite ©) Uber drei Oktaven 4) verbunden mit den Stricharten Détaché, Spiceato, Spice. volante und Staccato ¢) in Doppelgrifien 2. Stricharten A — grundlegende — Auswahl 3. Lagenwechsel 4. Stricharten B, Gber die Saiten — Auswahl 5. Fingerbungen — Auswahl 6. Stricharten C, rhythmische — Auswahl 7. Chromatische Tonleiter, normal und ohne Glissando. 8. Verminderter Septakkord. Abwechselnd an den einzelnen Ubungstagen: Enge und weite Griffe in den hohen Lagen, Pizzicato mit der rechten und linken Hand, Doppelgriff — Tonleiter chromatisch, Einfache und Doppelflageolette, Spezielle Stricharten und Doppelgriffe. Fur die Stricharten A und C sind kurze Achtaktige Beispicle bestimmt (siche ,Einlage"), die ich auch fir die Pizzicato — Ubungen beniitze. METHODICAL HINTS FOR YOUNG VIOLINISTS we observance of the prescribed dynamic indications Fatt eee hen pci eis and bowing. In this way we can ronat Burity of tone. We can acquire the prescribed tempo of the work in a gradual and unforced way. —) [ GA4¥. Solo playing onthe concert platform requires fal ncentration. ff we practice with the greatest concentration at home, we acquire the habit automatically and it accompanies ui in our public playing. ‘And 0 all that we wish to achieve on the concert platform must be first practised at home.’ (David Popper). A perfect tone can be acquired only by means of a perfect bowing technique. The wider our command of bowing styles, the more perfect will be the tone quality of our performance, Let us lear from listening to the great artists in musical interpretation. But let us never imitate them only me- Danically, for that is worthles. ‘We mudt always seek to put into our interpretation our own personality, our own taste, conception, temperament and character.’ (Henry Marteau). Let us never forget that each of us is differeat—that no two individuals are identical. In listening to a poor performance, from the point of view of both technique and interpretation, we can lear what not to do and what to avoid. Do not let us underestimate the technical aspect of a work, or even try to adapt it to our technical inadequacy. It would be at the expense of its musical rendering. And so it is essential te Practise daily the fundamentals of a good playing technique, such as are presented in Practice Days.TIO Fo Ta TN RA a 9 hee kinds of plaving: dad playing—the plaver adapts the work to his technical immaturity; good There are the requirements of the work; excellent plaving—the player through his technical plaving—the player is adequate perfection adds to the perfection of the work. Interpretation and technique also depend upon our mental and imaginative grasp of the work. The more perfect and sicey out conception, the mote peztect will be our rendering. “A high conception requires high level of technique’ (Eugene Yeaye) Before we set about the stud; of a new work, we must first be clear as to what period it belongs (Classical, Romantic, Moder etc.), a8 reflected in the content, form and style. Then we must give careful thought to the way we with to interpret it and adapt the phrasing, fingering and most characteristic bowing to the style of the work. ‘Let us always earn to sing the principal and secondary themes of a concerto, and then phrase and play them accordingly. A player who cannot sing a cantilena at least in his mind is unlikely to play it in a cantilene style’ (Eugene Ysaye). In inserting fingering, let us observe the following rules: a) the fingering must, in the first place, be musical, and only then practical or easy. The right fingering may sometimes be unpractical, and even difficult, but should correspond to the musical phrasing. b) Bowing should conform to the phrasing and fingering to the bowing, which sometimes means changing position simultaneously with the bowing. ¢) It is natural that every mature player has his own ‘individual’ fingering. But this individual fingering must conform to the demands of musicality. In order that the melody and melodic passages in a quick tempo may sound clean and without glissendo, we may sometimes change position where it is possible by finger gliding. Pianists set us an example in this respect, as they frequently change position in this way. We violinists have till recently used this device only in the high positions, with- out knowing to which position the note belongs. Let us learn to change position by finger gliding from the first position aad using all fingers. I also recommend playing in all positions and intermediate positions, as to play only in the Ist, 2nd and 5th Positions is now out-of-date and inadequate to modern requirements. In the concert hall, owing to the greater distance between the player and the audience, certain minor impurities of tone are not audible. The microphone, however, exaggerates them (especially the smallest glissando), and so shows them up. Thus gramophone or microphone recording require a still more careful change of position and fingering than on the co) larform. See Appendix. ‘And, fe, three moPy important rules - Every\Rowin, eros pst anh with tons-volume improuisation. 2. Every exercise in ¢| positiomshould be combined with the use of vib 3. All exercises should be practised as if we were performing in public, and C—O a — home. The core of every Practice Day is always a scale—a key, round which the other technical elements are built up. Each Practice Day begins with sustained notes, dynamically varied, and always combined with the use of vibrato. EACH PRACTICE DAY COMPRISES THE FOLLOWING EXERCISES 1. Scales and arpeggios: ; Sy acrom the strings in a single position from the Ist to the Sth Postion, ) on one string, through a range of 3 octaves, ; 8) eee 9 sik detached bowing, spiceato, spiceato volante and staccato, ¢) double stopping 2. Bowing A, basic (selection) 3. Changes of position | 4. Bowing B, across the strings (selection) S. Finger exercises (eclecion) - 6. Bowing C, rhythmical (selection . : 7, Chromatic scales normally executed and without glisando ana ie ed in the individual Practic Day are included in the individual ; ; ce ae te pani nhac sopping, harmonics (single and double), special bowing styles, double stopping. Te Bowing Exercises A and C short cight-bar examples are provided (See Supplement), which cam be used also for exercises in pizzicato.10 VYZNAM ZKRATEK - ZEICHENERKLARUNGEN ~- ABBREVIATIONS u. H. dolnt pile smyéce — untere Bogenhalfie — the lower half of the bow 0. H. hornt pile sinyéce — obere Bogenhaifte — the upper half of the bow m. H. stiednf pile smyéce — mittlere Bogenhalfte — the middle of the bow Fr. 1. Fr. 2. u Zabky — am Frosch — at the heel Sp. u hrotu — an der Spitze — at the point of the bow m. Lm. 2. stfedem — in der Mitte — the middle of the bow Udr. dolnt ttetina smyéce — unteres Bogendrittel — the lower third of the bow Mar. stiednf tfetina smyéce — mittleres Bogendrittel — the middle third of the bow (Odr. horn{ ttetina smyéce — oberes Bogendrittel — the upper third of the bow 1 -VII p. (Position) = poloha * O2NACENI SMYKU — STRICHARTBEZEICHNUNGEN — BOWING INDICATIONS Détaché Portamento Martelé Staccato Spiceue Spice volante QS SS See VV VVVY v cma13 CVICEBNE DEN 1 ~=UBUNGSTAG 1 PRACTICE DAY 1 VONINA G DUR TONART € DUR KEY OF CMAJOR Adagio, con vibrato GB inted in Ceechoslovaia © Edivio Supraphon 4567 Eisen Nooo Prana —Benuiiava 1968spice. volante detache Fr.M.Sp. spice. Fr. M. sautillé M. 1. Vyména poloh bez posuvného 1. Lagenwechsel ohne direkt gleiten- 1. Change of puition without shift plimého prstokladu, den Fi of primary fingering 2 Instruktivnt prstoklad, méni- 2. Instruktiver Fingersatz. Lagenwech- 2. Instructive fingering, change of posi- sel mit Strichwechsel (siche ,An- tion simultineuusly with bow (See hang"). Appendix) ates Prstoklad 2 148 pro smyky: Der Fingersatz 2 auch flir d. Suich- art: Fingering 2 also for bowing exercises: 4367|. Tereshinatoxé oktivy, ad lib. 1, Terzengriffoktaven ad lib. Nur fur! Ocaves stopped swith Jen pro vi ritce srollere Hinde. 1d fingers. For larger Nonnaini prstoklad . 2. Normal fingering SMYKY A STRICHARTEN A BOWING A DETACHE Vybér ad lib. DETACHE. Auswabl ad lib. DETACHE combined with legato Gvitime je na cvitnych pfikla- Wir Uben sie an den ,Ubungsbeispic- Bowing exemples A Nos. 6, 9. See the dech pro smyky A es. 6,9 a3 len" fur die Sticharten A No. 6, 9, Supplement. viz ,Vlozka" u. 3. Siche Einlage. yi. 30 ou Bes Ser8e 3, rn %2e5 2 Fr faz or. 2 fae ee Se ee " oa z z t2 3: VYMENA POLOH LAGENWECHSEL CHANGE OF POSITION 3) Poprvé evitime legato con a) Zuerst Uben wir Legato ,con vibra- a) to be practised first legato, con vibrato” Adagio, to" Adagio, vibrato Adag' druhé détaché dann détaché ,senza then detached, senza vibr. Brenaa vibe." Moderato. Moderato. Moderato. tact kk’ GGT OG deal DAME sul Df 4 od ae ete. sul DA AE sul Gd ryNoty © 2naét, ze piisluiné prsty zistivaji lezet. fp znameni, 2 oba prsty hraji tercii, aviak zni pouze vrchni tén (¢ernd nota). STRICHARTEN B uo FINGERUBUNGEN Auswahl ad lib. Die © Noten bedeuten, dat die Finger liegenbleiben muBen. f bedeutet, dal beide Finger Terzen greifen, jedoch nur der obere Ton klingt. (schwarze Note). BOWING B 3 gave FINGER EXERCISES Selection ad I White-diamand-shaped notes i dicate that the corresponding fingers remain in position. f Black diamond- shaped notes indicate that both fingers stop the interval of a third, but only —ceminana it The Geminan topping spe Note sounded, ca ee SS Fae ~ * ae Cus ‘ata ela aE 44567 1 Legato. 2 Détaché 3 Sautillé Rep.3« Rep.3«7 Q 4 tos “te e) Ge ow ao SPet co capepinont Seo SMYKY G v Ee Cc BOWING C eVa gov 6 ee ssn h Cvitny ptiklad €. 7 : Ubungsbeispiel No. 7 det. male Example No 7 ‘ 2 rmTe CBs ees ee Taare Le hoe eee eRe a 0 mie sie 2 she ots a £ tf phe 2 abe bs Lae 0 >= Prete. Toe 3 7 Tet T 32 Der Halbtongriff in hohen Lagen: Semitone stopping in high positions: oe oe Palténovy hmat ve vysoké poloze 8 72 7 Kleine Terzen chromatisch Minor thirds in chromatic progression Malé tercie chromaticky ats gd mare sls Sto GB. 9 2 2 —— Zmenteny septakord — Der veri. Septakkord Chord of the diminished seventh 2 3 pabe 4 7 ababt » 10: 2 7 t Prstoklad 2 t€4 pro smyky Der Fingersatz 2 auch flr Stricharten, Fingering 2 also for bowing ZIFLLE STRICHUBUNGEN SPECIAL BOWING EXERCISE SPECIALNI SMYKOVA CVI- SPE? 11CENIC.1 NO. 1 NO. Auswahl. Siche Einlage Selection—see Supplement Vybér. Viz Viodka HAs?18 PRACTICE DAY 2 KEY OF A sfINOR CVIGEBN[{ DEN 2 UBUNGSTAG TONINA A MOLL TONART A MOLL Adagio, con vibrato GBn v 4 2 Sf a> STUPNICE — TONLEITER — SCALES Hase7STRICHARTEN A BOWING A SMYKY A Detché » legater. Détaché mit legato. Detaché combined with legato ‘Vybér ad lib. ‘Auswahl ad lib. Selection ad lib. Chiené pitklady 2. 6 a 7. ‘Ubungsbeispiele No. 6 und 7. Examples Nos 6 and 7, D1GB. Od. OB. Ud. = _v ™,5.% 6! SS~ 0 gore. re Se oy 82 & E P St ? Naitaveny smyk “Angebundenci Strich ges extend ov fess 4 an Vay 1 a poy Xo ta Soe at # SSeS = Oar OB. Oa VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION sulG 3a o SMYKY B no STRICHARTEN B BOWING B _————_— CVICENI PRSTO FINGERUBUNGEN FINGER EXERCISES Vybér ad lib. Auswahl ad lib. Selection ad lib. Pichmat Streckabung Finger gliding iB tela ki td Fi 11 4567D atd. 2 Ha IIL pol. ad lib. usw. aus d. IT. u, IT, Lage ad ib. from the 2nd and 3rd Positions sy 1. Legato a 2 Détscne Fe Rep. Sautilté en ba ba bao bao bao Sri sre juch mit Fingerhebung f) Practice also raising both finger- beider Terzen stopping the thirds f) evitime t€# se zdvihanim prt f) ben wir a obou tercit. 4362 SMYKY C ca xu Tests tee ae Malé tercie chromaticky rizasas ZF abe ese spe A ’ STRICHARTEN C BOWING © av 4 + 6 ‘spiccato ase aasesh of eee a8 iS £ shor y a23 een 2 Dut Beebe s ge oe 221m Kleine Terzen chromatisch Minor thirds chromatic We sags TFT aes git 7 a t DVOJHMATY VC DUR DOPPELGRIFFE IN C DUR DOUBLE-STOPPING INC 10 Viz Viotka Siche Einlage See Supplement 4367CVICEBNI DEN 3 UBUNGSTAG 3 PRACTICE DAY 3 TONINA G DUR TONART G DUR KEY OF G MAJOR Adagio, con vibrato GB. Vv A A 2 P= LP f= sin. VILE. 2 e te Ibe STUPNICE — TONLEITER — SCALES ai do VII. potoh ete. bisin die VET. Lage ~ up to VII'® position28thsis 2 = ers SS TTS orm, FTF Terc-hmatové oktivy ad lib. Die Terzengriffoktaven ad lib. Bagger S24 ahy ee Dead 4 8 seeks 42 Fees. % Bane y Ta pee BPS apie Nee eee 3 3 i aa + + oF ca =]25 SMYRY A STRICHARTEN A BOWING A MARTELE Vvbér ad lib. LF. Auswahl ad lib. MARTELE Selection ad lib, Cuitne piiklady &. 2, 8. 9 beispicle No. 2,6. u. 9. Examples Nos 2.,6. and 9. Priprava — Vorubung — Preparatory exercise LE sp. Fe § 2Fe More at pas oN pen Von 2 = vey y VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION sulG. > 0 SSS es Geeest at Ree Z wae . vere Haat? ea * iG. b) SSE SSS STRICHARTEN B BOWING B y, sim, ea Sf eweny a Jo 13y 4 Fasever 22eFs30 = Zeeers FINGER EXERCISES eeeeae ea CVICENI PRSTO FINGERUBUNGEN \Vybér ad lib. Auswahl ad lib. 3 Hase7™ 26 a BB Be BB regu Dg VE speed a 2 Detache 0 am Se Rep. Saute oa ST on? 2 2 2 2 a d) == at He te fe = eeeERERS oe SMYKY STRICHARTEN C BOWING C 5 R Rosh & me ae peas corset itd go ecogyrs gryie? A 7 pene eee Son ceee esi : i SS ——————— Usage Laas < $ Tt ta 4567‘- = Gvidime tés Wir Uben auch:| We practice too? Tors aT a 7 AEA t , NP RT SPECIALNI SMYKOVA CVI- SPEZIELLE STRICHUBUNGEN SPECIAL BOWING EXERCISE LL Cente 2 NO.2 NO, 2 Vybér. Viz Viotka Auswahl. Siehe Einlage Selection. See Supplement 4456728 PRACTICE DAY 4 Key of E minor CVIGEBN{ DEN 4 UBUNGSTAG 4 Tonina ¢ moll Tonart ¢ moll Adagio, con vibrato i ‘6 2 GBy « — Hp eo o fe te Pom PPS sim e & 2 ip te 6 2 4 ‘ STUPNICE — TONLEITER — SCALES ad do 7. polot ebbing fase f= up (0 78 pos.OY a SMYKY A STRICHARTEN A BOWING A MARTELE S LEGATEM. MARTELE MIT LEGATO ‘MARTELE WITH LEGATO Vyber ad lib. Auswahl ad ib Selection ad ib Gviene piiklady & 6 a 7 Obungsbeispiete No. 6 u. 7 Examples for pratice, Nos 6 and 7 1.GB. Odr. GB ZU) we” OH Fee Bon. Sp. OW. A niga 2 ¥ 02 A a \VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION sulG 1112223334404 = D 3a) Jecsut & ase? Y SMYKY B NV srricHaRren B 4 44367so cvicent prsro, = ZO FINGERUBUNGEN FINGER EXERCISES Vibe ad fb Auswahl ad lib. Selection ad lib 1. Legato Dekices 5: Sautille 3 Rep. 114367a 2 salen AT ROY EMT ii li a Seema STRICHARTEN C BOWING 2 ete. M. = = JRE 1225 23 34 as ot byt tt 4 me as Pirro Malé tercie chromaticky: Kleine Terzen chromatisch: ‘Minor thirds in chromatic progression D a Sitgusibe abe abel b ig spouts & tetleusihs pubs sibsbene b. Hiss. aa a NS 10 PVOJHMATY VG DUR DOPPELGRIFFE IN G DUR — DOUBLE-STOPPING IN G MAJOR Viz Vlotka. Siche Einlage. See Supplement 44567a2 PRACTICE DAY 5 KEY OF D MAJOR CVICGEBNI DEN 5 UBUNGSTAG TONINA D DUR TONART D DUR Adagio, con vibrato : cay ao 2 2 Ppp &@eena 8 STUPNICE — TONLEITER — SCALES ai do VIL poloh ete, biain die VEt-Lage up to VII" position oe oe 3 3 7 £ ae E : 5 Ta ssaate 144367438 $ ste Or TET as ea ee aN aw peed epbeet tee og tee, As sei SMYKY A STRICHARTEN A BOWING A SPICCATO Vyber ad lib. SPICCATO Auswahl ad Ub SPICCATO Selection ad lib, Cvitné ptiklady €. 6, 9 3 Ubungsbeispiele No.: 6, 9 u. 3 Examples Nor. 6, 9 and 3 v wy pe = ee a a VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION Priprava - Vorlibung ~ Preparatory exercises. a == ~ +<— + D 3a) -_—==-=— SS ete. sul A SS eae ee aS sul G34 sul G. ———— SMYKY B STRICHARTEN B BOWING B Vybér F.M.Sp. [9 ‘Auswahl. Fr. M. Sp. Selection. Heel, Middle, Point 2, ay ay viz Cyden &1 5 5 5 5 = Z te sake bg No. sete log Nol Eres 2 ger ee CVICENI PRSTO FINGERUBUNGEN FINGER EXERCISES ‘Vybér ad Lib. Auswahl ad lib. Selection ad lib. Pope siglo, y + Polény:2.—3. pat ~ Halbtne: 2.3 Finger ~ Semitoner:2nd—Sedfiogers $ Ste. 4 4 sn Jot ae fo @ lanes i 2 2 ? ° ane ted ee ee eG 14456735 See res? Tea v LMI, pol.ad lib. te, aus d ILI Lage ad lib, in 11°4, 111. position Sects zn SMYKY CG STRICHARTENG 6 BOWING G D 2aye arzatay 7 Se vp aS a oqo bh Ssfii aps Pesebeth Se tsei SS ee 1 + be aot a NT Narrow (a) and wide (b) stopping in high Positions Usky (a) a siroky (b) hmat ve Der enge (a) u. weite (b) Griffin den hohen Lagen vysokych polohéch Velké tercie chromaticky GroBe Terzen chromatisch 12 SA ETE GB. Zmenieny septakord 10 Der verminderte Septakord Chord of the diminisher seventh SPECIALNI SMYKOVA CVI- SPEZIELLE STRICHUBUNGEN SPECIAL BOWING EXERCISE NO.3 NO3 11 CENT Cs Vyber vi Viotka ‘Auswahl. Siche Einlage Selection. See supplement H4S6736 CVICEBNI DEN 6 UBUNGSTAG 6 PRACTICE DAY 6 TONINA H MOLL TONART H MOLL KEY OF f' MINOR Adagio,con brio can V = = SEP SP sim 2 a to STUPNICE — TONLEITER — SCALES = al do VIL. poluhy ete. bis in die VHT Lage up to VII'* position = $ 2) ind ¥ 2 agers, staccato, a Vika Acad37 SMYKY A STRICHARTEN A BOWING A spiccato s legatem Spiccato mit legato Spiccato with legato Vybér ad lib. Auswahl ad lib. Selection ad lib. Gviene pitklady &, 6, 7 Ubungsbeispiele No. 6, 7 Exercises Nos, 6, 7 2.34 aa Deteey mu NEs Pod VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION sul G == D 30) ete za: se ere. sul A FES SSS SSS See a gist ee tt eee SS Se S Pas a ete. sul D-A-E = d) ate 1 Ta Sao me .RTEN B BOWING B atesul DACE YB STRICHA! Pen Sp. — Vybér Fr, M. Sp. — Auswahl Heel, Middle, Point—Selection 5 . 20 anvin dn¥ nom 5 vie Cy.den 2.1. 4 EPEZAA ic the Using Nos ze f "see Practice Day * £ = ae 2 No.l. a GF ae CVICENI PRSTO FINGERUBUNGEN FINGER EXERCISES ‘Vybér ad lib. ‘Auswahl ad lib. Selection ad lib.oe 1. Legato 2. Detach 3. Sautillé ‘3x Rep. @,2223 32 SMYKY 486739 Dvojité fladolety v G dur Doppelilageolettone in C dur. Gvitime 142 jednoduché ilazolety v tonin As dur jako G dur; viz Gv. den &. 3, Wir ben auch einfache Flagcoletts in der Tonart As dur sowie G dur. Siche Ubungs- tag No. 3. Practice also single harmonics in the keys of A fiat major played as G major; see Practice Day No 3 a = PIZZICATO LEVOU RUKOU PIZZICATO MIT D. LINKEN _—PIZZICATO WITH THE 1. HAND HAND DOUBLE-STOPPING IN DMAJOR Siche Einlage See Supplement DVOJHMATY VD DUR —-DOPPELGRIFFE IN D DUR it ‘Viz Viotka 1H 4567so PRACTICE DAY UBUNGSTAG 7 KEY OF A MAJOR CVICEBNI DEN 7 TONART A DUR TONINA A DUR Adagio,con vibrato GB. v a mys Pt naam. “>. ARS AL, ABAbTywsy SADrsSpawco, AAS SEP BEEBE cere mr be Vioteipo smyk-ViottisStrich—Viottis bowing ne KAA LAR VODA ~ Am) oXAdas day aad a apa ARES AS cw eS ae — = == = = VYMENA POLOH ‘LAGENWECHSEL CHANGES OF POSITION Priprava — Vorilbung — Preparatory exercise sul G 3 «. Site SHES SMYKY B STRICHARTEN B BOWING B rem ‘Sp. Vybér Fr. M, Sp. Auswahl Heel, Middle, Point Selection 2n 3in_Vn din Vn Sin_Vso CVICENI PRSTU FINGERUBUNGEN FINGER EXERCISES Vyber ad lib. Auswahl ad lib. Selection ad lib. 23468. a 4 - ret Ae 7] aH JF sue j = 2 SSS SS SS] vie aaa = wo ase On pon ~ Hato: OI Finger ~Semitone 0. Rage 4 4 1. Legato 2! Détaché 3 Sautillé 4 Némy hmat — Stummer Griff — Non-sounded stopping to ee ood a @ fest ov or SMYKY G STRICHARTEN C 6— IN? pag D. abd 2 sia 2 RP pe ba Shs sb 3 a eS G a eee = 5 Sie z Diojié Razolery v G dur. Doppelfageolensne in G dur Double harmonics a G major Gvigime 142 jednoduché Alazolety v téniné A dur jako G dur. Wir uben auch einfache Flageolets in A dur sowie G dur. 8 Practise also single harmonics in A major and G major. PIZZICATO LEVOU RUKOU PIZZICATO MIT D. LINKEN PIZZICATO WITH L. HAND HAND spiccy, pissy vy vy vy vy yoyo voy vivo 9 > Se SS gies Zm. septakord — Verm. Septakord Ghord of the diminished seventh 1s D SPECIALNI SMYKOVA CVI- SPEZIELLE STRICHUBUNGEN SPECIAL BOWING EXERCISE 11 Cent C1 NO. 1 NOI Vybér — viz viotka ‘Auswahl Selection,sz PRACTICE DAY 10 CVIGEBN[ DEN 10 UBUNGSTAG to TONINA CIS MOLL TONART CIS MOLL KEY OF C SHARP MINOR Adagio, con vibrato GB. ja es 2 1 = Li 2 2 ta STUPNICE -- TONLEITER — SCALES oa. a. 7 at do VE. etesisina vik Lage ee me yas aA AAS = spice.vol. 436733 SMYKY A STRICHARTEN A BOWING A Staccato celym smykem Staccato mit dem BG. Staccato with the whole bow Vybér ad lib, Auswahl ad lib. Selection ad lil Gvitné piiklady ¢. 6 a7 Ubungsbeispiele No. 6 u 7. Ecamples. Nos 6 and 7 nV ne, ¥ nw ny “3 ad a KRARN AAR “ 5 DAA Shean aoa r joes AASASSAROY, SSASE3 Ta & So {_—— SSS q ; Ff VYMENA POLOH LAGENSWECHSEL CHANGES OF POSITION sulG D jete. sul & 3a) ber d. Saiten — Across the strings ate. Visieas Fritts Pies struny — Uber d. Saiten — Across the strings Prise mic. = See giddty weet $33 quid s eu ate. ete. ) an a3 34 +a— ‘23 a¢ wide ete, sul D-Ay ACE Y] STRICHARTEN B. BOWING B ere Fr. M, Sp. Auswahl Heel, Middle, Point selection 2m ann on iyo sin = EEry aes 3 We FINGERUBUNGEN FINGER EXERCISES ‘Auswahl ad lib.ss a4 — sport AE ==: ok fe ee cp. Di raas P42, v ‘ 3 opt igs om a Lie ry ; SMYKY C : : STRICHARTENC 6 BOWING C peer E a~ Fi Doszae2est ae Vy Tiytsys suse 2 3--337,23,5515e ' =a a 7 in : : = D a 2 she 2h2 4 3)% s % = & 24 a aha 33,2 2 Kleine Sexten chromatisch Minor sixths in chromatic succession oe. ad Prag Abi oe Ee Male sexty chromaticky ababe ab3 p35 ERin DOPPELGRIFFE INEDUR | DOUBLE-STUPPING IN E MAJOR See Supplement 10 DVOJHMATY VE DUR Viz Vlotku Siche Einlage Hase7PRACTICE DAY 11 KEYS OF H—C FLAT MAJOR CVICEBNI DEN 11 UBUNGSTAG 11 TONINA H = CES DUR TONART H — CES DUR Adagio, con vibrato By a Tyr pees, pfs pf p sim 2Sasg a lay STUPNICF. — TONLEITER — SCALES at doVILpolohy ete. bis in d.VIL.Lage up to VII"® pos. ot ait etre spe Spee, Fr. Mt, saut-M._ pice vol at ~ noo 2 { H4S67STRICHARTEN A ¥. fas fas Se LAGENWECHSEL CHANGES OF POSITION VTS amt B ete.357 Pres struny — Uber d. Saiten — Across the strings sul G-D a ete. te. ov Sate + PARI Bins : Pies sruay — Uber d. Saiten Pies struny — Uber d. Saitea Across the strings ‘Across the strings 3 rs pe — Tins Cert Tew sul G-D SMYKY B STRICHARTEN B BOWING B Fr. M. Sp. Vybér Fr. M. Sp. Auswahl Heel, Middle, Point Selection Dn Dn gn Vio din Vin 4 zs wyeze meee eee Sin n fn Vin tn _¥ Pe Se = “72 = me * Ww pe FS CVICEN! PRSTO FINGERUBUNGEN FINGER EXERCISES ‘Vybér ad lib. Auswahl ad lib. Selection ad lib. 4 4 3 aot 5a) = 4 SSS ES] Piltény: 1.-2. peat = Halbtone:1.—2. Finger ~ Semitones:Ist—2ad fingers ‘ ‘ a ot = + Ss 4 Blk J 2 AAT o to 1, Legato 2: Detene 3. “Santillésul A,oon vibr. 7 ni a3 Praty zdvihat — Finger nicht liegenlassen — Raising fingers 81 beds SMYKY C STRICHARTLN C 6 BOWING C vast T3572 tebe Kleine Sexten chromatisch gli. Minor sixth in chromatic succenion Taasates as Tpietete ae at cpr SPECIALNI SMYKOVA CVI. SPEZIELLE STRICHUBUNGEN SPECIAL BOWING EXERCISE 10 Cent ¢.2 No. 2 No, 2 Vyber Auswaht Selection 436739 CVICEBN{ DEN 12 UBUNGSTAG 12 PRACTICE DAY 12 TONINA AS—GIS MOLL. TONART AS ~ GIS MOLL KRYS OF A FLAT—G SHARP MINOR Adagio, con vibrato ja te 2 2 ony ries vv aa 1 a 2 2 2 ig 4 = P=f—P=S—P sin 2 ab. 4 STUPNICE TONLEITER SCALES 1 38—gis moll. Toktét jako a moll. Die Tonleiter a8 ~ git moll Keys of A flat—G minor. Viz Cvitebnt den €. 2 spielen wir wie a moll Phy also as A minor. Siche Ubungstag No. See the Practice day 2 SMYKY A STRICHARTEN A BOWING A. ‘Smykova cvitent pies 3 struny _Strichilbungen uber 3 Saiten Bowing exercises over 3 strings MFr. Sp. ad ib.) ee OBL. 4367G + VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION » ul D ete, sul A E 3 = — SS Pres struny — Uber d. Saiten Across the strings 3) stra iii 2) sulG D te. sul A pa sul & ete, sul DA Tet tee avs sul G-D. Pies struny — Uber d. Saiten ‘Across the strings Ey etc. sul A DA wk 5S SH wi Rh Tie itm sul G-D. Pres siruny — Uber d. Sten ‘Acros the wings n 1 cont ss ves pp Sea SRS nt Maser© SMYKY B STRICHARTEN B BOWING B Fr. M. Sp. Vyber Fr. M. Sp. Auswahl Heel, Middle, Point a wr pm an dn Vin dn Von 4 Se SEES PPP pA 3 mp nf \# sim Yon bin Von Dn an Vv SSS =z Z fz nf = as, mf \ CVICENI PRSTO. FINGERUBUNGEN FINGER EXERCISES Auswahl ad ib. Selection ad Lb. ‘Vybér ad lit 2. 1. Legato 2. Détachs 3. Sautillé H4367ez iM eng Eee Nn eas SMYKY C —== STRICHARTEN C6 BOWING C mf piccato E —__ *$ rs > Zaft case ee Hy 6-1 : Thy 3 feaigtres > PERYER: G a + z 7 vets 8 2 Duojité fatolety v D dur. Doppelftageoletiéne in D dur. Double harmonics D-major - Cvitime ted jednoduché fiaiolety Wir Ubenauch einfache Flageoletténein We exercice the simple harmonics in vy téniné B dur jako G dur der Tonare B dur sowie G dur B major and G major 9 . onic G4 set ttes ef 2 Pizzicato levou rukou Pizz. mit d. 1. Hand Pizz.—left band Sg ERE AME your Novevoe DOE y Po BV sateen y Buena Hoees V nUEnY EPRI YN YY oP s rs 1{ DYOJHMATY V H DUR —DOPPELGRIFFE IN H DUR LES’ Mall ve vote Sihe Eilge Se spleneat NH MAFOR 4436763 CVIGEBN{ DEN 13 UBUNGSTAG 13 PRACTICE DAY 13 TONINA FIS-GES DUR TONART FIS-GES DUR KEYS IN F SHARP A G FLAT - MAJOR Adagio,con vibrato 1 a v toe oa & fF FE Paf=P=feP sim. ay PP 1116, up ug 2é¢ STUPNICE — TONLEITER — SCALES 12 40 VItpolh up to VII" position sulD 3 24 z 2Terz-hmatové okt. ad lib. Third-stopped Octaves ad. lib. 2s 3 tek 2 aoe ga Faas a 3 es 5 o a tes Eeoten 4 - SMYKY A STRICHARTEN A BOWING A ‘Smykova cvidenf pfes 3 struny —_Strichibungen Uber drei Raihen Bowing-exercices across three string Mo ee Ve ee 4 2a) VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION TERE TeN sare sete CET eae Across the strings ele a po fae DA ete, sul RE 765 SMYKY B STRICHARTEN B BOWING B Fr. M. Sp. Vybér Fr. M. Sp. Auswahl Heel Middle Point. Selection Da Qn on Vin dn Ys 4 rs fz FF Sin. yv = faze CVICENI PRSTO FINGERUBUNGEN FINGER EXERCICES \Vybir ad li. ‘Auswahl ad ib. Selection ad lib. gas 4 4 4 oot 5a) a ee] ov 5 Pleény: 2.~3. pest — Halbtone: 2.—3. Finger ~ Semitones: 2nd! a 114367SMYKY C STRICHARTENC 6 Malé sexty chromaticky KA Sexten Chromatisch gtigg, _ Small sixths chromatic 3 Usky a tiroky hmat ve vyiokych Der enge u. weite Griff in den hohen Close and wide stopping in high polohich. : Positions SPECIALNI SMYKOVA CVI- SPEZIELLE STRICHUBUNGEN SPECIAL BOWING EXERCISE Al CENIC.3 No.3 No. 3 Vyber i 436767 | GVIGEBNE DEN tg UBUNGSTAG 14 PRACTICE DAY 14 TONINA ES-DIS MOLL ‘TONART ES-DIS MOLL KEYS OF E FLAT-D SHARP MINOR, jo 2 Adagio,con vibrato cae 22 Vp f=? f—P 2 eteatbe 4 STUPNICF. TONLEITER SCALES 1 Stupnice es moll hrajeme jako Die Tonleiter cs imoll spielen wir wie Play scale of E flat minor as E minor a e moll e moll SMYKY A. STRICHARTEN A BOWING A spiceato volante spiccato volante spiceato volante in der Mitte des Bogens at the middle of the bow E stiedem smytce Viberadt Aunah a i Seteetion ad lib. v ny Fees Sela ee 2 Gee ot ages E = ——| .” at ° =< aoe 1.5) teee, Boe we” SM my a VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION sulG 3a a aaa es Fae ¥ SE Ha Bae ee ‘ eter sal DAE Pies struny — Uber d. Saiten — Across the strings sul GD a zt eat “eet 3 SMYKY B STRICHARTEN B BOWING B Fr. M. Sp. Vybér Fr. M. Sp. Auswahl Heel, Middle, Point68 FINGER EXERCISES CVICEN! PRSTU FINGERUBUNGEN Vee ad i. ‘uswabl ad ib. Selection adi ap oe cal i a 5a) IV.pe ay DG ~ Err, 1. Legato 2. Détaché SEE 3. Sauillé 3s Rep. 1. Legato 2. Détaché 3. Soutitlé ‘3x Rep. 4436769 F. cB: fi = con vibr. sulD Prsty nenechat leet — Finger nicht liegen lassen — Raising fingers piPe aT pcan 8 SMYKY G STRICHARTENC 6 BOWING G a oF va aT ws Malé sexty chromaticky KA. Sexten chromatisch gigs, _‘Minor sixths in chromatic succession FH70 CVIGEBNI DEN 15 UBUNGSTAG 15 PRACTICE DAY 15 KEYS OF D FLAT—C SHARP TONINA DES-CIS DUR TONART DES-CIS DUR MAJOR Adagio,con vibrato GB.A v 1 Pf p—=fsin. 22 eo $ STUPNICE TONLEITER SCALES Stupnice Des dur hrajeme jako Die Tonleiter Des dur spiclen wir wie Play scale of D flat major as D 1 Dédur. Viz Cv. den & 5 D dur. Siehe Ubungstag No. 5 major. See Pract. Day No 5 ‘Zména pritokladu je jen ve 2m. Wir andern den Fingersatz im verm, Change of fingering only in the septakordu. Septakkord chord of the dim. seventh a2 boha 245 be SMYKY A STRICHARTEN A BOWING ACHANGES OF POSITION VYMENA POLOH LAGENWECHSEL 3 = —— : 3a) sont Fees oot IIE EL NOONAN Sarese ose ose 8 STARS Gad AAS 8 etc. sul D-A-E Pitesti ae Rig Pies struny — Uber d. Saiten — Across the strings ] oe ete. sul > o SMYKY B STRICHARTEN B BOWING B Fr. M. Sp. Vybér Fr. M. Sp. Auswahl Heel, Middle, Point Selection p- Vv . nn vavVinvoa vay 4 ee Sa SSS < sez FG anv avin a 4 = 3 = 2 el Ts set CVICENI PRSTO FINGERUBUNGEN FINGER EXERCISES Vybér ad lib. Auswabl ad lb, Selection ad lib. cp. + 4 4 ot 5a He TE oT . Poltény: 34, prt — Halbtdae: 34. Finger — Semitons: 34. fingers 4 : | teta Fae 72 gul D-A. cat e ies Vp. o gul D-A "= cee 1. Legato 2: Détache 3. Sautillé a= Rep. STRICHARTEN C SMYKY c Has73 Dvojité lazolety v A dur. Doppelflageolettine in A dur. Double harmonics in A major. Gvitime tét jednoduché flazolety v ténine H dur jako G dur. Wir aben auch cinfache Flageolettone ing H dur wie G dur. Practice also single harmonics in B major and G major gs | PIZZICATO PIZZICATO PIZZICATO Pizzicato dvéma prsty hrajeme Das Pizz. mit rwei Fingera spielen Pizzicato with two fingers: index ukazovagkem (I) a stiednim prs- wir mit dem Zeigefinger (1) und mit finger (1) and middle finger (2) tem (2) dem Mittelfinger (2) SPECIALNI SMYKOVA GVI- SPEZIELLE STRICHUBUNGEN SPECIAL BOWING EXERCISE IL CENIC. 4 No. + No. + Vybér Auswahl Selection Hse?4 CVIGEBN[ DEN 16 TONINA 8-AIS MOLL Adagio, con vibrato GB.n BUNGSTAG 16 PRACTICE DAY 16 KEYS OF B FLAT—A SHARP TONART B-AIS MOLL MINOR i-fe a 2 éche o PREP * 4 = 2 be TS SCALES B flat—A sharp minor, play as B flat minor TONLEITER ie Tonleiter b moll spielen wir wie h moll STRICHARTEN A SPICCATO VOLANTE, in d. oberen Halfte des Bogens 1 STUPNICE » (ais) moll jako h moll BOWING A SPICCATO VOLANTE upper half of the bow my SMYKY A ‘SPICCATO VOLANTE horn! polovinou smyéce v Day 046.2in_V a is mf a VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION Pies sruny jednim prstem ‘Uber d. Saiten mit einem Finger ‘Across the strings with the same finger sul G-D Da 2 22 sim 3a nt ay 4g g sim ASA SE letc, Legato 2Détaché thy ee wal D-Ay A-E bb D ete. sul & E 436778 suvKy 8 STRICHARTEN B BOWING 8 Fr, M. Sp. Vybér Fr. M. Sp. Auswahl Heel, Middle, Point 2m ava VaV nV Vinv z = af fv fp 2 V nm Vn V nv 8) Vin SS SS] nf \# fz fz CVICEN! PRSTO FINGERUBUNGEN FINGER EXERCISES Vyber ad lib, ‘Aunwablad ib, Selection ad Lb. De cpt Giesr 5a Op. 1. Legato 2. Détachs 3. Sautillé ‘3= Rep. Hass776 sul D-A 9 SMYKY CG STRICHARTEN C BOWING CG Velké sexty chromaticky Grofie Sexten chromatisch Major sixths in chromatic seccession 245 Syshae tibevash ey hevehe 3 eGebenebape Zm. septakord ‘Verm. Septakkord Chord of the dim. seventh DVOJHMATY DOPPELGRIFFE DOUBLE-STOPPING 10 V Des dur in Des dur in D fat major ™ Hse?7 CVIGEBN{ DEN 17 UBUNGSTAG PRACTICE DAY 17 TONINA AS DUR TONART AS DUR KEY OF A FLAT MAJOR Adagio, con vibrato STUPNICE TONLEITER SCALES | Stupnice As dur hrajeme jako Die Tonleiter in As dur spielen wir wie Scale of A flat major, play as A major Adur Adur Fingering for chord of the sixth and Prstoklad pro kvartsext. a zm. Fingersatz fr Quartiext. u. werm. chord of the diminished seventh septakord: Septakkord: : ge r 3 pS 2 et bies = Ta } op SS tes Be, Swe atte = @ SMYKY A STRICHARTEN A BOWING A Tetkovany cytmus 9 Pankterter Rhythmus 9 Dotted rhythm & Wyber ad lib. Auswahl ad lib. Selection ad lib. ¥y v ta 7 . bog 128 ee op. SS ond, 2ea oy Yr. vy at 3 ort Keo eet eo Ye eit = TF ia Ff pice. VYMENA POLOH LAGENWECHSEL ‘CHANGES OF POSITION Has6778 SMYKY B STRICHARTEN B BOWING B Fr. M. Sp. Vybér Fr. M. Sp. Auswahl Heel, Middle, Point tn In on vg vn Ve Vn 4 FEES S Sal vse 7 wo? wy SinVn_ Yon V Seva v¥ nv nv Sin. pe eee eae a SSS] z yo wy wy CVICENI PRSTO FINGERUBUNGEN FINGER EXERCISES ybér ad lib, ‘Auswabl ad lib. Selection ad lib. gulD y 1 5a) Weeger 2 2 M46779 SMYKY C STRICHARTEN C6 _ BOWING C Le ee 4s 3 a 37 Velké sexty chromaticky GroBe Sexten chromatisch Major sixths in chromatic succession gliss Deby a troky hmat ve vysokjch Der enge v. weite Griffin den hohem Close and wide stopping in high polobich. Lagen. Positions Chord of the dim. seventh 2m, sepakord Verm, Septhord 5 1 % bs aba Eee 3 3 » patie) p E 2 31a 10 ee i SPECIALNI SMYKOVA CVI- SPEZIELLE STRICHUBUNGEN SPECIAL BOWING EXERCISE Al cent No. 1 No. 1 ‘Vybér Auswahl Selection H4s6780 PRACTICE DAY 18 KEY OF F MINOR CVIGEBNf[ DEN 18 UBUNGSTAG 18 TONINA F MOLL TONART F MOLL Adagio, con vibrato hae = GB: v " ig Vin S 1b’ ‘sta Sa SCALES STUPNICE TONLEITER 1 Stupnice £ moll hrajeme jako Die Tonleiter in f moll spielen wir wie Scale of F minor, play as F fis moll. fis moll. sharp minor. SMYKY A ny STRICHARTEN A n_y BOWING A n_y Tetkovany rytmus Punktierter Rhythmus <3 Dotted rhythm od ue Selection ad lib. ° Vybér ad lib. ‘Auswahl ad lib. Vo 5 fice Se SFr M3) Ad. re ai a oY 34 geod pe 2, 2 ian ie f 2 ada. re 72. PE poop 08 Afb ote BReeseag rec oF 7 oF _—a VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION sul G. SMYKY B STRICHARTEN B , BOWL Freh Sp Vjber Fr.M.Sp. Aumahl Heah Blddle, Pine Dn 2n Poe Vin Vin Vn vay ze v7 Savon Va v O9vn vn y 7GBUHON) Sin__y a zx ZL Ge VE M4867an CVICEN! PRSTU FINGERUBUNGEN FINGER EXERCISES vybér ad lib. Auswahl ad lib. Selection ad lib. 1 Legato 2 Balache 3: Staaite 3 Rep. ; _ . = 7 ° == Or ea err le eer = Peery errr — emcee . ie = <= SS= errr pre prre Rr sriericie re nGB. 2) read, “ori sri Saat fie ate. su DALE, 4567Double harmonics in E major. Dvojité fatolety v E dur. Doppelflageolettone in E dur. Gvitime tt jednoduché Mazolety v C dur jako v G dur. Wir uben auch einfache Flageolettone in G dur; wie G dur. ; Practice also single harmonics in C major; play as ifin G major. 38— eras pS # PIZZIGATO PIZZICATO PIZZICATO Prnt notu pizz. levou rukou; Die erste Note pizz. mit der linken First note pizz. daliich 7 not arco. Hand; die ubrigen 7 Noten arco, following 7 notes arco 1, hand and the DVOJHMATY DOPPELGRIFFE o Mee eae povzue-storrise 4367a 83 CVIGEBNI DEN 19 UBUNGSTAG 19 PRACTICE DAY 19 TONINA ES DUR TONART ES DUR KEY OF E FLAT MAJ. Adagio, con vibrato 2228 oa. £ oe 2 Pic fa P= Sa tim. vp. 22ea22 8 6 STUPNICE TONLEITER SCALES " { Stupnice Es dur hrajeme jako Die Tonleiter in Esdur spielen wir wie Scale of E flat major, play as Ed Eur E maior SMYKY A STRICHARTEN A BOWING A - Ricochet — odskakujict smyk Ricochet — springbogen Ricochet— bounding Vyber ad ib, ‘Aunwabl ad Selection ad tie 1h awa A fol yaw CHANGES OF POSITION rA3tSotast as . VYMENA POLOH LAGENWECHSEL SIDS radiates ap eay tty Sore 3 ete.sul D-A, “A-E SMYKY B STRICHARTEN B BOWING B Fr. M. Sp. Fr. M. Sp. Heel, Middle, Point Dn 2n an v ay nm 7 SSS z 7 # bY 7 f vt tf t CVICENI PRSTO FINGERUBUNGEN FINGER EXERCISES Vybér ad lib. Auswahl ad lib. Selection ad lib. GB. stant ts ao 2 Aottsosts ee 5a) 45 be = 4436784 SSE 1 gage seer es Polusny: ods past. — Halbtone: 1.—2. Finger — Semitones: Ist—2nd fingers 1. Legato 2 Détacne 3: Sautiilé 3 Rep.SMYKY CG STRICHARTEN C6 BOWING G D jete. sul A E ‘Velké sexty chromaticky GroBe Sexten chromatisch Major sixths in chromatic succession 7 A SPECIALNL SMYKOVA GVI- SPEZIELLE STRICHUBUNGEN SPECIAL BOWING EXERCISE 10 CENI C2 No. 2 No. 2 Vyber ‘Auswahl Selectionse CVIGEBNE DEN 20 UBUNGSTAG 20 PRACTICE DAY 20 TONINA C MOLL TONART C MOLL KEY OF C MINOR Adagio, con vibrato cay nv eta 2 2 pf pS p iin. 4 4 2 2 ba * STUPNICE TONLEITER SCALES 1 Stupnice ¢ moll hrajeme jako ‘emoll Tonleiter spiclen wir wie cis Scale of C minor, play as C ir moll rll, sharp minor. SMYKY A STRICHARTEN A BOWING A . Synkopované legato Synkopiertes legato Syncopated legato fn Vv eek ehahe hweEabheRN BA 2 t VYMENA POLOH LAGENWECHSEL CHANGES OF POSITION, ber glisanda jen pro kantlfau ohne Glisando mur fir Cantilene without glssando only for (Pray nenechat ledet) (ie Finger nicht liegentassen.) cantilens (Raising Singers.) ae rata: = bans Adagio con vibrato sul ¥ ¥, a a ¥ 4 5 3a) PEE : ete sul A Farris tata PITT Sige Bey saa 88 E Adagio, con vibrato . pee = : , » is = wemh E v : = F Torta ASF wa ai con vibrato ate. ae. ot R gE “ae.92 CVICEBNI DEN 22 UBUNGSTAG 22 PRACTICE DAY 22 TONINA G MOLL TONART G MOLL KEY OF G MINOR a te fe $ 2 2 Adagio, con vibrato fe v 1 Sqp iP 2 2 le be D> 0 b 0 STUPNICE — TONLEITER — SCALES 2¢ do VIL poleh te bis in die VIL Lege up to VII" pos. detaché Fr.M.Sp. spice. vol Se it ume Spice. Fr. M.-sausillé M, 436793 wall ~/ oul a a8 » Arpeggio across 3 strings Selection ad lib. BOWING A STRICHARTEN A Arpeggio Uber 3 Saiten. ‘Auswahl ad Lib. Arpeggio pies 3 struny. Vybér ad ib. SMYKY A Bn an, Vang V 1. an. nov w a7 v4 mts [iss 43674 CHANGES OF POSITION v1 SEL ee Oberst ht pualing geting VYMENA POLOH piehmatem sul G 3a) 4 yz etc. sul A E m= 7 7 Pies struny — Uber d. Saiten — Across the strings Te eo oe ee Oe sul G-D ete. 4 z 7 Da ete, sul D°A a ey ¢ SMYKY B STRICHARTEN B BOWING B . . Fr. 5 FrM. ake Mt anny yearn Se 4 Sasa & =< = ¥ VG VW CVICEN! PRSTU FINGERUBUNGEN FINGER EXERCISES ‘Vybér ad lib. ‘Auswahl ad lib, Selection ad lib. _tNoB. 5a) Lp: 1 Legato 2 Détsché 3 Sautilléjh 95 SMYKY C STRICHARTEN GC 6 BOWING C mf spiceato cps ain. sul D D ete, sul A E t Third-stopped octaves in chromatic ticky succession. a Tere-hmatové oktavy chroma- Terzengriffoktaven chromatisch. DOUBLE-STOPPING in B fat maj. 10 PYOHMaTY DOPPELGRIFFE vBdur in B dur 14867oe PRACTICE DAY 23 CVICEBNI DEN 23 UBUNGSTAG 23 TONINA F DUR TONART F DUR KEY OF F MAJOR 119 Nb Hid Adagio, con vibrato : o Yippie Pf mm 2 22e2an $ a ig SCALES STUPNICE TONLEITER = Stupnice F dur hrajeme jako Die Tonleiter in F dur spielen wir wie Scale of F’ major play as F sharp Fis dur Fis dur major A 3 fee, tfeay Pritokiad pro im, septakord vs Pee peer E ees fAesys Fingersatz fur verm. Septakkord Fingering for chord of the dim. Drvists,iziztss+eszisiseg seventh AoE 23S SMYKY eA ‘ STRICHARTEN A BOWING A “Arpeggio pies + struny “Aspeatio Uber + Saiten Arpeggio across 4 strings Vybér ad lib. Auswahl ad Selection ad lib. : nM n, A, r. L » Wy Hase797 \VYMEXA POLOH LAGENWECHSEL CHANGES OF POSITION pfehmatem bez glissanda mit Ubergriff ohne Glissando with Finger gliding without glissando sul G 3a) J 7 oS ees * ie sul D-A-E* ete. Pies struny — ter d, Saiten — Across the strings sul G-D 7 2 ete. poe ete. » ete. sul 8 we ts ? SMYKY B STRICHARTEN B BOWING B Fr. M. Sp. Fr. M. Sp. Heel, Middle, Point D y 2in y 3inGB. UH.OH. din___y == = uF F a F ay sas eaas| VG ] CVICENI PRSTU FINGERUBUNGEN FINGER EXERCISES Vyber Auswahl Selections 5a) Poltsny: 3.4. peat = Falbusne: 3.4 oat, a == Ph v = ‘3 SautilléSMYKY C STRICHARTENCG 6 BOWING C cpsul G SS Oktivy chromaticky yo ong ele ele eo, é 8 Usky a firoky hmat ve vysokych Der enge u. weite Griff in den hohen Close and wide stopping in high polohich Lagen Positions SPECIALNI SMYKOVA CVI. SPEZIELLE STRICHUBUNGEN SPECIAL BOWING EXERCISE 11 Cent G4 No. ¢ par Vyber ‘Aurwahl SelectionCVICEBN{ DEN 24 UBUNGSTAG 24 PRACTICE DAY 24 TONINA D MOLL TONART D MOLL KEY OF D MINOR ) -—_—— ofe 2 2 LS oe ‘Adagio, con vibrato Bu IV.p.ppPP STUPNICE — TONLEITER — SCALES Fa. vitpolany Bion die Vi Lge up to VI iat ip Ip. - speevol — Spice Fr M.saut.M. Has67SMYKY A STRICHARTEN A BOWING A akord Akkorde Chords Vyber ad lib. Auswahl ad lib. Selection ad lib. v Ploonga none MY ak yg Ve Vou, eee reas png 8 srr ey 2 Ude. 5 os Uae +n fa ? aS z YyVVVV VV aie, Ads gz S Fr.Sp. y a v fn a a am at nt y " pi a re Opatené cvigit! Vorsichtig dben! Practice carefully! VYMENA POLOH LAGENWECHSEL plehmatem eee CHANGES OF POSITION with gliding fingering 3a) = Ss! Phes struny — aber d. Saiten — Across the strings sul G-D. b = : 4367101 MYKY B STRICHARTEN B BOWING B BeM. Sp. Vibér Fr. M. Sp. Auswahl Heel, Middle, Poine ) n y Dr von vy a gBUHOH any. ov on enV Won any ee ee eee G w a ¥ FINGERUBUNGEN FINGER EXERCISES Selection ad lib. CVICENI PRSTO ‘vybér ad lib. Auswahl ad lib. 2 su gals 1. Legato 2) Détaché SS 5. Sautillé 3a Rep.102 sul eee ons =e a cpt e ve SMYKY C STRICHARTEN C BOWING EXERCISES C opsul G Oktdvy chromaticky Chromatische Oktaven elise Octaves in chromatic succession pe # ; b, PIZZICATO PIZZICATO. PIZZICATO Pron nota arco, daliich 7 not Erste Note aico, die Ubrigen 7 Noten First note arco, following 7 notes pizz. pizz. ukazovickem. Smyéec driet pizz. mit dem Zeigefinger der rechten with indes Gnger Bow to be held Hand, Den Bogen normal halten. normally normélné. DVOJHMATY DOPPELGRIFFE DOUBLE-STOPPING ML yr dur in F dur in F major 4367DODATEK ve kterém uvadim prstoklady a ptiklady pro vyménu poloh k docilent zpévné a zvukové Gisté hry bez rusivych-glissand. Posuvay pratoklad (nepiimy) (Ménime polohu tymd prstem.) eSe5 Posuvay prstoklad (ptimy) (Mé- rime polohu dvéma_prsty.) p33 ==] Tyto pratoklady nepouiivejte pro viménu poloh v rychlém tempu na legatem vézanjch osminovych, triolovych a Sesmictinovjch sku- pinch. Rozmafou se a zéjf mfioukavé. Hrajte je v jedné polo- ze aneb stfidejte polohu smykem. ‘Viz pitklady 1-15. Vrehaf prsto- klad spravay, spodat_prstoklad vv rychlém tempu nesprivny. V po- malém tempu (Adagio) phija- telny). Podtriené prstoklady na- znaéujf zvukovou netistotu. ANHANG in dem ich Fingersitze und Beispicle fir den Lagenwechsel zur Erzielung und Klanglich reinen Spiels ohne st6- rende Glissandos anfuhre. Gleitender Fingersatz (indirekt): (Wir wechseln die Lage mit zwei Fingern.) = Gleitender Fingersatz (direkt) (Wie wechseln die Lage mit einem Finger.) =.=, Diese Fingersatze sind nicht fur den Lagenwechsel in raschem Tempo bei gebundenen Achtel- Triolen- und Sechzehatelgruppen zu beniitzen. Sie werden verwischt und klingen gejam- mert. Man spiele sie in einer Lage oder wechsle die Lage mic der Strich- art. Siche Beispiele 1-15. Der obere Fingersatz ist der richtige. Unterer Fingersatz in raschem Tempo unrichtig in langsamen Tempo (Adagio) an- nehmbar. Die unterstrichenen Finger- stze bedeutten, daB sie unreinen Klang verursachen. tus, APPENDIX in which we give the fingering and examples for practising changes of position, requiring a singing and pure tone, without intermediate glissando. Gliding fingering (inderect) (We chan- ge potition with two fingers.) o Gliding fingering (direct) (We change position with the same finger.) é 3 25 Do not use these fingerings for change of position in quick tempos in the case of legato slurred quavers, triplets and semiquaver groups of notes; they would sound blurred. Play them in the -same position or change position simultaneously with bowstroke. See Examples 1—15. The upper fingering is right, the lower wrong in quick tempos. Acceptable in a slow tempo (Adagio). ‘The underlined fingers produce a blurred, fuzzy tone. ‘ cit Ao 1 30a 1 se Apts rt © Uigeite- 22 eS 2 ieee dee Fee Nie e EEE e = oJ 72 tes oe at 23 23 te age Lt? i3 27 4567104 Posuvné prstoklady se_nejlépe hod! pro zpévny pyednes v po- malé kantiléné. Zpévak zpiva melodie (intervaly) skoro neslys- nym glissandem. A tento zpisob glisanda musime doséhnout po- suvnjmi_prstoklady pli vyméné poloh ve zpévnych melodifch. Viz pitklady 1-3. ‘Adagio ae —_ >= Stupnicovy prstoklad. Piiklad: Uvedeny pitklad si zahrajte a pak zazpivejte a pozorujte rozdil mezi zpévem a hrow. Zjstite nepatrnou 2vukovou netistons ve hie, kterou zaviftuje tento prsto- Klad. Stupnicovy prstoklad se hod! nejlépe pro stupnicové pa- séie ave viech sekundovjch intervalech postupujfcich melodit non legato. V melodifch vézanjch v pomalém tempu nezni dost zptvné ani v sebelepiim prove- dent. Rust hladkost i zpévnost melodie. Poudivejme jej pouze vnevyhnutelnych pifpadech. Me- lodie postupujlet v sekundovjch intervalech dol nebo nahoru hhrajme co moind v jedné poloze, ‘4 jeli nutnd zména poloh, pro- vedme ji posuvnym prstokladem nebo méiime polohu smykem. V nisledujicich pitkladech jsou spodni pifklady stupnicové a vrehn{ posuvné pro zvukové pti- rovndat. Zména poloby smykem a posuy- nym prstokladem. Die gleitenden Fingersatze eignen sich am besten fir die Nachahmung des Gesanges in der langsamen Kantilcne. Der Singer singt die Melodien (In- tervalle) in fast unhorbarei Glissan- do. Und diese Art von Glix:ando muB durch den gleitenden Fingctsatz beim Lagenwechsel in den Mclodien er- reicht werden. Siehe Beispicle !—3. Andante an Andme yy ——=> Tonleiterfingersatz. Das angefihrte Beispiel soll 2uerst gespielt und dann gesungen werden. Unterschied zwischen Gesang und S, ist merkbar. Dadurch stellen Sie die Kleinste klangliche Unreinheit im Spiel fest,die durch diesen Fingersatz verur- sacht wird. Der Tonleitesfingersatz eignet sich am besten fir Tonleiverpassa~ gen und in allen in Sekunden-Interval- Jen fortlaufender Melodien non legato. In den gebundenen Melodien in langsa- mem Tempo Klingt er auch in der besten Ausfthrung nicht genug sang- lich. Er stort die Glatte und die Sang- lichkeit der Melodie. Ich empfeble, ihn nur im unausweichlichen Fallen au bendtzen. Melodien, die in Sekun- den-Intervallen' auf oder abwarts ver- Jaufen, méglichst in einer Lage spielen und wenn Lagenwechtel notwendig t, dies durch gleitenden Fingersatz ausfuhren oder die Lagen maglichst mit dem Bogenstrich wechseln. In den folgenden Beispielen werden zum Vergleich der Klangreinheit unten Tonleiterfingersatze und oben gleiten- de Fingersatze angefhrt. Lagenwechsel mit den Strichwechsel uund mit dem gleitenden Fingersats, Adagio Gliding fingering is most suitable for passages of vocal character and in slow cantilena. A singer passes from one note to the next with an almost inaudible glissando; we must achieve this kind of glissando by a gliding of the fingers in changing position, the string remaining stopped throughout. See Examples 1—3. 1 f= = Scale fingering. Play the given example and then sing it and note the difference between the sung and played renderings. You will detect a certain impurity of tone in the playing, due to this fingering. Scale fingering is best suited for scale- like passages and in all intervals of ‘a second in melodies played non legato. In the case of melodies played legato in slow tempos, this type of fingering does not sound sufficiently vocal, no matter how skilfully performed. We use it only in cases of extreme necestity. Melodies proceeding by intervals of a second (ascending or descending) should, as far as possible, be played in one position; if a change of position unavoidable, then use a gliding Sngering or change position sumultane- ously with bow-stroke. The following examples show the scale fingering below and the gliding finger- ing below and the gliding fingering above, for the sake of comparison, at regards purity of tone. (Changes of position simultaneously with bow-stroke and with gliding fingering.105 jon simultaneously a Lagenwechsel mit den Strichwechsel. Changes of pt sna poloby smyker ce Zména poloh¥ Allegro jth bow-stroke. oy a 7 7 . ‘rmina plory posovasmn prsor Lagenwechiel mit gletendem Fine Changes of position with gliding finger a gersana. ing. ae Adagio , 32.6 ete i zat xeeet Paaaia 3 In small legato slurred melodic groups (of two, there or four notes of equal value scale-fingering is unacceptable from the point of view of tone purity in any tempo. See Examples 1—16. Th Hlineren legato. gebundenen e- lodiengroppen (Duolen, Trial, Quar- adic eeemnicovy patoklad ‘olen im Jedem belicbigem Tempo it tot iv tempu naprosto der Tonleiterfingersatzklanglich vl rece eciniatelng. Vie pr unoliwig. Siche Beispele 1-16. Kady I-16, tas 2 a 23 234 24 a2 ey = 2 pe me iat = = pees Beim Lagenwechsel in diesen melo- Changes of position in these melodically dischen gebundenen Gruppen treten (slurred) groups are accompanied by sehr kleine, aber gut hérbare unschéne a slight, but clearly perceptible and Glissandi auf. Ich emplehle, wo es unpleasant glissando. It is advisable, kde je to moiné, plipravit pfedem —méglich ist, im vorhinein die Lagen- therefore, where possible to prepare polohu tak, abychom mohli za- position so vorzubereiten, da8 man the position in advance so that we Brat tyto a podobné skupiny bez diese und ahaliche Gruppen ohne can play such-groups as these without Lagenwechsel spielen kann. Siche wei- changing position. See further examples tere Fingersatzbeispiele ohne Glissan- jon without glissando: do: o> re Ee U meniich legatem vazanyeh me- Iodickyeh skupin (duoly, trioly, tone? ot? wis 2 tis gt tis of-3s ne Ve vyméné poloh v téchto melo- dickych vazanych skupindch jsou velmi mali, ale 2fetelné slysitelna nepékné glissanda. Doporucyji, wymény poloh. Viz dalif pif Klady prstokladu bez glissand: Z 2 5 NS Lt 2 wy £ uo cs os 24 ay th tke te i? 7 7 1 s,s -— a a 4 feet tac 7 aa T vat bos ist FE £ fet ff fe Fee © oe us epee E == ae rt > oI oF arto kD eaeet Te Iv ieee 5) Ls se > Sa se varragyT 7 T3tLet f277a12? 7 TL2712 ae pitklady viz stupnice a roz- Weitere Beispiele siche die Tonleiter For further examples, see scales and logené trojzvuky. und zerlegte Dreiklinge. broken triads. 4367né skupi- Gebundene _Stufenweisschr must be played across the Sesica ominotové véranéshupir Gebundene Seg) 7,8) mut played across the sng thoes Steers Cheat wc cee hte, nin a br v. ‘ 108 T. Na jedné struné v pomalém Aufeiner Saiteim langsamen Tempo: On one stiing, in slow tempo: tempu: ‘ Andant 1 Andante 1, 41 -S Fees al ag Das vy ean Andarite y ne Bote Tat at 24 oe rr a rr o 3 PLeLst Prisdvojhmatech se vyskytujf eve Bei den Doppelgriflen kommen nur In double stopping, impuri Kove netsioty jen velmi slabé sehr schwache Mangliche Unreinheiten occurs only very’ lighdly fa, thont, Y tercich » extéch, Odstrantme bei den Tersen und Sexten vor. Wir and sixthe, We con ey it ny se pomnyin prvokladem ancho becdgen sis durch gletenden Fiogcr- gliding fingering or changing ok ime polohu smykem. satz oder durch Lagenwechsel ni i ecu polobu my BE oder “durch Lageawechsel mit tion withthe bowatroke, 3 bay te Laas fijy : yo hip Lis oe rari? oi ‘Ve Vysokych polohich je meti In hohen Lagen besteht zwischen q : incr dot fae a act hn da gh pions, he ees Miteme tedy brit paltinovy Entfernung. Wir kénnen also cin Hall, pin’, (owe tO8ether. We can, therefore, interval jednim prstem a celo- ton-Intervall mit einem Finger und nce mitone intervals with the same énovy interval normdiné. Viz cinem Ganzton-Incervall normal spic) natin, 2nd whole-tone intervals nar pHklad: len. Siche Beispiel Sea example: io aN 2 4367° 207 SL Se soca a or er = PRSTOKLADY ADY ee Joh bez glissanda. pro wjmnéau Pol ‘aMénime potohu smykem'* Gackt) psokad eye stun vsanych TEER “ellen to cach Gey aly 1 4 ——_ BEISPIELE — FINGERSATZE fir Lagenwechsel ohne Glissando. oWir wechseln die Lage mit d. Strich- art" (Instruktive) Beispiele fair Fingersatze iss". an verschieden gebunde- er und zerlegten Drei- 107 EXAMPLES—FINGERING for changes of position without glissane do. Changes of position simultaneously with bow-stroke’ Instructive examples “senza _gliss.’ in variously grouped (slurred) scale passages and broken triads. Tyto pratoklady poutivejme té2 Diese Fingersitze sind auch fr fol- pro smyky: yn vany gende Stricharten anwendbar: da _yany 14567 “These fingerings can be used also for bowings: an_vanyx « 108 ‘Ad do VII. polohy miéeme hrat tint zpisobem (prstokladem: vizané stupnice pies struny po- hodiné a pfijatelné . V daltich - wSich polohéch D-E-F dur se hrajf jit obtinéji_ a nezni pékné, (Viz stupnice pies stuny vy evid, dnech.) Je this fingering in legato wie auf We can us ig Bi in savoste) ged ceale, passages through 7 Pa itions, Be Na tFingestse) gebundene Ton scale passages WCPH 1 T) Ieitern bequem und annehinbar spic Ten In den welteren — hoheren Lagen D~E=F dur ist ihr Spielen schwieriger und sir klingen nicht schon. (Siche Tonleiter uber d. Saiten an den Ubungstagen.) si a gus Deb —F mnie) aay. ae ney and. dock not snd well, (See Scales across the strings in practice days). Rozlotené trojzvuky. ,Ménime po- lohu smykem™. Prstokl. t€2 pro smyky 1, 2. day any Zerlegte Dreiklange. wLagenoechtel mit Strichwechsel". Der Fingersatz auch flr Stricharten 1, 2. yn_v any Broken triads. ‘Change of position si- multaneously with bow-stroke’. Fingering also for Bowings 1, 2. vn _v any +H ~ Waser8 Exes, Eye, ene | me tee tm eee ee ee tS Rf, Fis,fis, eee od yt Pratoklad t€2 pro smyky 1-5: Der Fingersatz auch fur Stricharten Fingerings also for Bowings 1—5. H4s6714367at ages, we change In all-legato scale pa Bei ganzgebundenen Passagentonlei: tern wechseln wir die Lage einmal, position once, at most, twice hochstens 2weimal. Pricelovizanych pasidovych stup- Piven menime polobu jednouy inanejeys dvakeat a E : Asan Aa, a 2 i ; teateeFee Ettesa.. 44367412 hne Glistando. Broken triads withou cine Gisenjer Change of position simultaneean Bow-troke, Rozlotené trojevuky bez sisan- Zerlegre Dreiklanse da, Ménime sia:k = polohou. Wir wechseln die ultaneously Lage Ge, VEEN a 1 setEte Virtuézn! prstoklady jose Fingersatze fiir is Vir jering for broken tria oklady pro rozlo- Virtuose Fis ke ds , ¢ Fingerstze fir zerles igersatze fiir zerlegte Drei- Virtuoso fingering 2ené trojevuky jako pasite. klinge als Passagen, as passages. Ge,joklad celovazaného ymalém rempu k do- bezvadné rvukové istoty. Ménime polohy + pomoct prizdné struny: Spetieller Fingersatz des ganzgebunde- nnen Dreiklanges in langsamem Tempo zur Erziclung vollkommener Klang- reinheit. Wir wechseln die Lage durch Ubergriff und mie Hilfe einer leeren Saite: 113, Special fingering for wiads under 2 single slur, in slow tempos, aimed at perfect tone purity. Change of position with the help of an unstopped string (open note): é Staré, tradiéni_prstoklady. M&- rime polohu piimym,— poswv- nym pritokladem. Tyo prsto- lady v legatu znf 2vukové ne~ Ging. Hodf se jen pro smyky détaché, spiccato a.staccato. Alte, jonelle Fingersatze. Wir wechseln die Lage durch direkten und gleitenden Fingersatz. Diese Finger- sitze klingen im Legato unrein. Sie eignen nur fur die Stricharten détaché, spiccato u. staccato. Old, traditional fingering. Change of position by means of direct—gliding fingering. Such fingerings sound blurr- ed in legato passages. Suitable only for detached, spiccato and staccato bowings. 4 sas, Aa, efe aman pefEEed, 1 Eses, Ec, = polsaaead Posledni zpisob, jak se vyhnout slissandu, je neslysitelné zastavit smyk pti vyméné poloh tak, jak Lagenwechsel unhdrbar zu beenden, hhrajeme smyk portamento. v Ze Ee o o2 Die letzte Art, cin Glissando zu ver- meiden, besteht darin, den Strich beim sowie wir die Strichart Portamento spielen. ‘The last device for avoiding glissando is to stop the bow inaudibly on chang- ing position, in the same way as we pley portamento bowing. | #25 4367