From the RUBANK EDUCATIONAL LIBRARY

RUBANK ELEMENTARY METHODS

A Series of Graded Fundamental Courses for
Individual or Like-Instrument Class Instruction
flUTE {Piccolo} Petersen ED or BB D BASS {Tuba} . Hovey
CLARINET Hovey DRUMS Yoder
OBOE BElL LYRA . Whistler
Hovey
MARIMBA or XYlOPHONE . Peterson
BASSOON. Skornicka
TYMPANI . Whistler
SAXOPHONE Hovey GUIT AR {Spanish} DePressles
CORNET or TRUMPET Robinson VIOLIN · Potter
FRENCH HORN {Ep Alto-Mellophone} VIOLA . · Ward
Skornicka CELLO. · Ward
TROMBONE or BARITONE Long STRING BASS . · Ward

RUBANK INTERMEDIATE METHODS

A Series of Graded Follow Up Courses for
Individual or Like-Instrument Class Instruction
FLUTE {Piccolo} · Skornicka -Petersen TROMBONE or BARITONE
CLARINET . · . Skornicka-Miller . . . Skornicka -Boltz
ED or BB D BASS {Tuba}
OBOE Skornkka-Koebner · . . . . . . Skornicka-Boltz
BASSOON . · Voxman DRUMS . . . . . . . . . Buggert
SAXOPHONE · . . . Skornicka MARIMBA-XYlOPHONE-VIBES . Jolliff
CORNET or TRUMPET . . Skornkka VIOLIN · Potter
FRENCH HORN {ED Alto-Mellophone} VIOLA . · Ward
. . . . . . Skornicka-Erdman CELLO . · Ward

RUBANK ADVANCED METHODS

A Series of Outlined Courses of Studies Designed to Follow
Any of the Various Elementary or Intermediate Method Series

FLUTE, Vol. I · Voxman-Gower CORNET or TRUMPET, Vol. II

· . . . . . . Gowe~Voxman
FLUTE, Vol. II · Voxman
FRENCH HORN, Vol. I . Gower-Voxman
CLARINET, Vol. I . · Voxman -Gower
FRENCH HORN, Vol. II . Gower-Voxman
CLARINET, Vol. II · Voxman-Gower
OBOE, Vol. I · Voxman-Gower TROMBONE or BARITONE, Vol. I
· . . . . . . Gowe~Voxman
OBOE, Vol. II . · Voxman
TROMBONE or BARITONE, Vol. II
BASSOON, Vol. I · Voxman-Gower · . . . . . . Gowe~Voxman
BASSOON, Vol. II · Voxman ED or BB D BASS {Tuba}, Vol. I
SAXOPHONE, Vol. I · Voxman-Gower · . . . . . . Gower-Voxman
SAXOPHONE, Vol. II . . . . Voxman ED or BB D BASS {Tuba}, Vol. II
. Gower-Voxman
CORNET or TRUMPET, Vol. I
. . . .. Gower-Voxman DRUMS . . . . . . . . . Whistler
 CLASSIFIED CONTENTS

Units The Second Position Pale

1- 3 Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
4- 9 Selected Studies in the Second Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
10- . .. Etude in C (Sitt). . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
11- 12 Key of F Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
13- 14 Key of Bil Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
15- . .. Advanced Etude in the Second Position (Rode). . . . . . . . . . . . . . . . . . . . . . . . . 8
16- 31 Shifting from First to Second Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 10
32- . .. Etude in the 1 st, 2nd and 3rd Positions (Sitt) . . . . . . . . . . . . . . . . . . . . . . . . . .. 12

The Fourth Position

33- 42 Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 14
43- 44 Key of F Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 16
45- 46 Key of Bil Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 17
47- 48 Key of G Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 18
49- 50 Key of D Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 19
51- 66 Shifting to the Fourth Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 20
67- ... Etude in the Second and Fourth Positions (Schoen). . . . . . . . . . . . . . . . . . . . .. 22
68- ... Shifting Etude Through Five Positions (Blumenstengel). . . . . . . . . . . . . . . . . . .. 23
69- . .. Advanced Shifting Etude Through Five Positions (Sitt). . . . . . . . . . . . . . . . . . .. 24

The Sixth Position

70- 80 Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 26
81- . .. Sixth Position Etude in C (Sitt). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 28
82- . .. Sixth Position Etude in G (Ries) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 30
83- 86 Sevcik Exercises for Shifting the Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 32
87- 94 Scholz Exercises for Shifting the Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 33
95- . .. De Beriot Etude Melodique (2nd, 4th and 6th Positions)... . . . . . . . . . . . . .. 34
96- . " Shifting Etude Through Six Positions (Sitt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 36

The Seventh Position

97-107 Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 38
108- . " Seventh Position Etude in F (Sitt). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 40
109- ... Seventh Position Etude in G (Scholz). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 42
110-125 Shifting in the 3rd, 5th and 7th Positions. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 44
126- ... De Beriot Etude Harmonique (3rd, 5th and 7th Positions). . . . . . . . . . . . . . .. 46
127- ... Shifting Etude Through Seven Positions (Sitt). . . . . . . . . . . . . . . . . . . . . . . . . . .. 48
128-131 Schradieck Exercises for Shifting the Position (2nd through the 9th Position) . 50
132-140 Arpeggi Through Higher Positions (Hermann). . . . . . . . . . . . . . . . . . . . . . . . .. 51
141- ... Henning Allegro de Concert (Duet). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 52
142- ... De Beriot Etude Brillante (Through Higher Positions). . . . . . . . . . . . . . . . . . . .. 54
143- ... Campagnoli Etude d'Artiste (Solo for the E String). . . . . . . . . . . . . . . . . . . . .. 56

INTRODUCING THE POSITIONS FOR VIOLIN-Vol. II


for VIOLIN-Vol. II
INTRODUCING THE POSITIONS, Volume Two,
is a continuation of the course of study started in
INTRODUCING THE POSITIONS, Volume One.
In the latter work the third and fifth positions
were taken up, and in the present work the sec-
ond, fourth, sixth, seventh, and higher positions
are introduced. It is true that violinists usually
employ the third and fifth positions much more
than any of the other higher positions; yet it also
is true that they must become thoroughly ac-
quainted with the second, fourth, sixth, and sev-
enth positions. There are many passages in both
solo and orchestral literature that can be played
to a decided advantage by employing the second,
fourth, or sixth positions. An untimely crossing of
strings often is eliminated by using them, and
again an undue amount of shifting sometimes is
avoided. Furthermore, the works of various mod-
ern composers require that extensive use be made
of these positions. As for the seventh position. it is
used chiefly as a continuation of the shifting proc-
ess in which the player goes from the first to the
third position, and then from the third to the fifth
position. The seventh, and even higher positions
(eighth, ninth and tenth), are to be found in
many passages of concertos and other virtuoso
ee _______---,
SECOND, FOURTH, SIXTH
AND SEVENTH POSITIONS
compositions, as well as in the works of advanced
orchestral literature.
The so-called "half position," which some vio-
linists have considered a higher position, is in
reality nothing more than a substitute fingering
used chiefly to eliminate clumsy fingering in the
first position. It is employed only for a few mea-
sures at a time in an occasional spot in etudes,
solos, and concertos, and space is not sufficient
in the present work to take up this substitute
fingering. When encountering passages which
are simplified by use of this substitute fingering,
players should have no difficulty in performing
them; in fact, a study of the passages themselves,
when actually encountered, will suffice for a
mastery of this so-called position.
INTRODUCING THE POSITIONS, Volumes
One and Two, constitute together, an introduc-
tory school of position playing. In the standard
etudes of Kayser, Blurnenstengel, Mazas,
Dont, Kreutzer, Fiorillo, Rode, Leonard,
Danc1a, De Beriot, Rovelli and Gavinies, there
are afforded many excellent opportunities for
further study of the positions.
Harvey S. Whistler, Ph. D.
 The Second Position
This position is NOT to be studied until the player has completed all of the
third and fifth position studies presented in "Introducing the Positions:' VoL I.

Preparatory Studies in the Key of C Major

r--, "Half- step; fingers close together

Prepare G String D String

~e J~
\I

J J pSI
Y
1
U '6
I 0 0
4
I I'
1
0
2
II
3
I• 0
II
2 3
1 2 1 1
0
I-

A String I
E String I
~
I '6 .0.

~
0
0
CI
1
I 0

2
C'

3 4
I 1 2 3 4
II
III playillg pa:;iti01I:;, dO' nat emplay D'jJell E, A or D :;tl'ing:; IIl1le~'8 fingering i8 80 marked.

2 ~
(9)
II Ir;
o 1 2
j
1
II: j
2
j Ig j
(HI)

~ f r I n IE r IF j Ij j Ij J Ij
J I; - :11
L---..

ALARD

(13) ~ r--, r----,

r Ir r
(9 )
r-1

If f f f If f
~ F r Ir F IF If If
( t 7) r------. (21)

~
f f If r If F IF F IF F IF F IF
r----,

r IF F
(2:') (29)

~ r J IJ j IJ j IJ j Ij j Ij j I;
~
J I; :11

Copyright MCM XLVI by Rubank, 'nc ., Chicago,'"

.. .. . - ... -
2 of 56
 Selected Studies in the Second Position
ALARD

De SERIOT

5'II Jin E:jbw 13 n JIwJ:J:J m3J I; J ; r IJrJrIf rrFir! -

Prepare (~

I
o 1 2 1 2

ALARD

(li) r"I (13)

t ~ i rr Ir rr Fir rr r Ir rr J IF; JJ iJ :JJ 3I:J J 3J I J I - :11

De SERIOT

(9) r"I (13)

, ?r FF IF r r r If r r JI; em r Ir r FJ I.J; r r Ir FJ J IJ ! - :lJ

3 of 56
 Exercise
HERMANN

Prepare (a)

B ., i Jj J J II: JJJJ iJ J31EC !'J JJJJI a3JJ IT IT rJ IFr r r J~ J] I

o 1 2 1 2

(5) (7)

, nHUEflfEUErulcruccrfltUrerUlr i - :11

Foundation Study
DANCLA

'I Jan 11:}a HfJ n lEE rr (E rr ICDr rr er nr 1r FE rJJ JJ I

Prepare (a) 1

9
o 1 2 1

(5) (7) (9)

, j; J j JJ J 31 JJ JJ] 23 J1]2 3d] J 2J IJ J J JcJ g 1J~ ~ JEr~

(11) (1a)

t rfrnrrflrffrrHF IrFfrrfrr ICffcc(E rlrErrJJ J 3I

(1;;) (17) (19)

, ilJJcrfFl[ccrJJJJIJJJJJJjJljjJdJJJlrCC[CITU I
(21) (23)

, rrriCfrflfLrr cr E:r IJ;JJg JJj) 'UJjd JJj J I

~ (25) (:1'7)_

J~ .QiJ IPJ~.g J] IjJpafr IJ~J

~ J--O iJpJ11 !J 1] J I :/1

4 of 56
 Etude in C
SITT

y -I! ~ ~~.fl- ~ t
1011Jh; II:; vJjJJlrrEFCfrtlf UfttflErECr
Prepare

o 1 2 1
I I

~) - W
, FErrE 'lcrrr Ef If tfHrtlhftrCCrrlr Eta ft I
2 3

V V

t
(13)1"'1 1"'1

fHqE[rIJ i[HJJJIHJ);, l13fir * I~IJJ' I

1

1"'1 V ..... (17)

, jJ ]J f (tiE Fir tr F I IfF EF[ cEfiE EEF j J] J ICfEr Ef rF I

3 4

(21)

, rffli[cr r IErE FCrrClfcuJJ] J !JUJU]]] J ID~kEE~1

(25)

, ~£ Ff r rEEf I f FE rr F[ E I EfE ~r f f £r If FE r 8 J] I
(29) (33) ~~

, dJJJJjJJIJJJJjHjldJJdcerFlr(EFJJjJ l~iJ:J Terri

arcrr IflU EHf I
(37)

, tirffPr r9Cr IiJJJi)j fi IBn Euri r

(u) 1"'1 V

, ~r DJH ] Idb] JJ#J J IcF Pi f I IyfF r J I I~~ EITt f

1
i I
1"'1 V (45)

, !tffC'UrlrfFrrcrrlf£fffFUlrCHrUF I
(49)

¥fFrrJJJjIJJJJJJIjUJJc:rrJlr r feErlE i - :9
5 of 56
 Key of F Major

Etude
Also practice (1) slurring each foul" tones, and (2) slurring each complete measure. SCHOLZ
Prepare

12 '~i ~ ~ II: ffrFer FliJ JUaB PIE OF FE( r r IJ JUJu rf I

(5)

'~EErrHCrICCUrFFr IEfUHJJIJJJliJJJI
(9) (13)

,~ CE cfCfrrIJJJJfJ#ICErfrfu-IJJJJJJJJ ICEErFEr FI
(17)

,~ Er rEf r rf IaErf rr rI[0 CFc f r FIE f f Fr err Irrj'f 0r r rI

(21)

,~ U6 d H IfiCO[ FcF ITI frr rr rr rI[cer r mE rIfErfEr re I

(25)

,~ r EOJ [ E& Ir r @' [ ELf IrE Or (i'E G1 r [,. Ef & I r

¥
..

Ff[ IF 0
4

1
(2f1)

cr r EE ErHOr 1 JJ J] njJ cr rr JJ 3J j JJ Jr
.. Remain in the second position, merely stretching the first finger backward .
I 1 t :11

6 of 56
Key of B~ Major

Etude
SITT

7 of 56
 Advanced Etude in the Second Position
(Based on a Rode Caprice)

RODE

,#
(7) (9)

jJHrrEf[E[FIJJHrUFv 7 l#rftfrHfrfrrl
$# Br
3
,~
fiQ
~ ~
[r [ r FEfer rr I biG E1 ~(G L1 [ [tiE r I ~f r:t~Er [
0 0 ,~ ~
f [ ErI
fi~ 0~

,# EBEEP~t Hi'cui I; Fff~r rHrr 6r I Pc [rr [rr Ek rr I

(23)

,# HErr rEf frEr I~tr EF# bE pr fE rf I JJJ j PJ3 J ~ j 51) I

'* ~~

[IE Hncr Ef rEb rI{Enell HEH EEt IfPE rr r£ rr Err I

~~

8 of 56
 (49) ~ (51)

,U Erf rrE Err IT F#r I G?j Jj sa FtrB~ I Jj 1j Jj j'9 rfi ti~ I

V
~ (53) 4' n

,U M ij:p J1gJ£f IFE gd J]J 51 rJ I r ¥tfrcfUI

(55)

9 of 56
 Shifting from First to Second Position
When shifting fr-om the fir-st to a higher- position, do not take the finger- up and put it down a g ai n; i n-
stead, slide into the higher- position.

Shifting from One Finger to Another

The student should shift for-war-d on the finger- that was last down, and likewise, shift backwar-d on the
finger- that was last down.
The small note in the following exer-cises indicates the movement of the finger- in shifting, and as the stud-
ent perfects his ability to shift from one note to another, the small note eventually must not be heard.

10 of 56
 A String

D String

(A)

;~~
#
28e
r"1

~
(8) r'l

- J :11:#3+ ..r3f!J :11: l±!!r r8@ ;11: t:@r r-tstP

(C) ,.,

""
(0) r'l

'''' j

G String

11 of 56
 Etude in the 1st, 2nd and 3rd Positions
SITT
Also practice slowly, using a separate bow for each tone.

32
$ ('
n
0

j JJ J
3
V
0
4

JJJ) itl) td2J I JJ1JBJ fr rJ f '~rni

I
~ II pas.

$ Effr fffre Efr rro 10 [Wr lID ~ll

(3) _______ ~ ~ III pas .

I pas.

~ ~
liiJ JlD lBS 60 IWJ sID un "EI
t ( 5) 0 0 4 1

~ II pas.

I pas.

(9)
~ ' ! j ------r-~
ll!? lJJJ Ja J ] JJJy I lda
M '

~
J @9 ttt;,
--=------
~ ~
EN r; I
II pas. III pas.

III pas.
(15) ~ I pas. 4, II pas.

~
, r Ft r r~ nFff1 dID
~
I,m ('JUJE
~' 2
tUr l§JJ
0
0 ,

12 of 56
 (HI)
r;; ~~...
, Jl!tJ t!tJ ill} d22J @J 00l Ftir 0,t
Vi i .

° 1 E t1
I pas. " pas. III pas.

,
(21)
~
---=------
g ~ _____ I pas.

f d f r r r r r HC Ef r ID! I ,m tiff?} ffiJ

II pas.

J J 0j
~
1

(23)

$zjJJ lOJ; J Jj 0 J HO J I lOd a @J ill' (fifO 1

~ ~ ~ ~ ~ Illpas.
I pas. " pas.

(27) 0 1 4 1 Iii pas. ~

, 4l2J illJ 4!±9 @) I UlJ Em fill k Ed t

III pas. I pas. " pas.
1

~ ~

, t f d f rf~E ~r ®r W"'~
(29) I pas.

I dr Sf'@J]
~ ~J J 2!tJ
• 1

, JEJ UD =Jl.!j em ffft @} tffd

(31) 4 4 1

II pas.
1 JJ
'---=--
JJ 1

tID an RU @J
(33) 0 0 0 " pas.

JJ!) lB3 EEg Z!1J

, 1 " • 0 1

g 1 1
I pas.

em
I pos.

fID
(3:;) 0 1 0 ~ III pas. ______ ~ 2

, ldl~~ (fR EEE r EFi} 1 j Err Ef r f

I pas.

13 of 56
 The Fourth Position
Preparatory Studies in the Key of C Major
E String
A String 2
G String D String 2 1,---. 3 4
! Pl'"epal'"e r'l ~ ,---,;----, ;: .:,. .n ~ n e-

33 ii db J I
ll
123{
u
1
I~~, I; II:, I: I': 17 II" I'" I I I
2 3
I I I I

34 ' I l
r'l

j j
V

III pos. IVpos.

I U IJ J I n (5) ~
IFF IIT F If
~
~

I=
~ ~
I

1
j IJ j Ij J I; :11
'----..J
III pos.

De BERIOr

35 ~ Il 3J IJ J IJ J IJ J IJ j
V

III pos.IVpos. (Remain in fou..th position,)

W
IJ d II" r- I~ I" IJ d II"
W
r I
(Vi) (17) (21)

; F F IF- F II" F IF F If F IF f IF F If F If f IF f If F If ~ I

~~ ~~ ~~

, f F If F IF IT IfF lIT r lIT F IF- f If F If r II" r 14 r IF r I

III pos. I pos.

14 of 56
 High Tones in the Fourth Position

III pas. IV pos .

Pt"epat"e 1"'1 V (5) 1"'1

38 '1\ [t f t II, E[
III pas. IV pas.
If IT I f IT If - It f Iff I[ IT If - ,I
Pt"epat"e (5) 1"'1

39$11 ~ tHII, CEI[ flf f If - Iff Iff If [ If - ,II

III pas. IV pos.

Technic Builders

Pt"epat"e (A) 1"'1 V (B) 1"'1

40 &11 fEn II,sffrlfrfflfffFlffftll,rffflfftflfffflfftfl

III pas. IV pas.

V ~ ~ ~

HrrIIIffr Iffff Ifffr Iffffll,fffrlftfrlffftlfffCII

Pt"epat"e (A) 1"'1 (B) 1"'1

41 &11
III pas. IV pes.

Extending the Fourth Finger

15 of 56
 Key of F Major

,",(5)~
Scale of F Major 4 4 4 4,
P~epo~e ~

i~e i; ~} I:J wfr 1m r fr Ire rr Ifffflffffitre r Ire r r Ir1 ; J:11

(1

43
III pos. IV pos.

Etude
DANCLA

44
i ~ i L~ nil: 1P~ IF ;J
P~epo~e

IJ n Ir r if r Ir- r IJ R IJ J I
(5J

III pos. IV pos.

M ~~

f~ J r IF ;J IJ Fr Ir r- Ir r Ir r- Ir JIf IF" i I
n V

I~F J t 13 r Ir- ~ r * I~r E Ir= r I r

(17) (21)

i~ J r- r IFe f) I
(2:;) ~ (29)
~' ~
i~ HUlfc=rlfeOlferflf4frnl¥1rllfUil rJ;J I
___ t!:-

~~ ~~

,~ V J] IJj ~ IV J] I; ; r riC r r J IJJr r Ir r r J IJ ; mr I

~ ~ ~
(41)

@~ RFP Ir' t IJ7f Ir~~ IJ

r"1 (45)

f! If r Ir r IJ r I
(53)

,~
~~

j WIsTfr Iff' I(fEr

~

rr Ifffr In J71VrJ I
i 4

16 of 56
 Key of Bb Major

Scale of Bb Major
Prepare (b) ~) (5) (~) (b)
M ~ ,., V (~) ~ -fI- ~ (b) (b) ~ -fI. .,. ~

45~IJO JJ r r II:rrrrr IrrEEI ErrlrFr FIrrF r l[rETITEE FIrFrfl

,

1 2 S 2 2
III pos. IV pos.

Etude
RIES

rm rull dm U!-J 00 ldl~ EFU jft}

Also practice slowly, using a separate bow for each tone.
Prepare V (3)

46 '~Il !~ [[II: I I I
(5) br
III pas.

,~ We frh IEWGur ImettEfl £fftr~

IVpos.

(7) ~

~m '----g ,,~---=--
(9) S 2 ;--....... (11) 1 ----...... (13)

~I ~ ~ Y---~
1 rFrFcffJlQrfff jErlcFF! 71CFFl rFrlrcrcrFfFI "

, (Keep 2nd finger down) ................. . ... (Keep 1st finger down) ..••.•....••..••... .. (Keep 2nd finger

11 2 ----...... (15) ~ (17)

I ..;..---... t: "'.---. ~ ~ ~ '"
'~llrfrrH Er IaU{~rfEr IrffptH rIm4QIJ I®@I
dow n) ........ .... ...... . . ..... (Keep 1st fi n ge r dow n) ...................... .

17 of 56
 Key of G Major

Scale of G Major
Prepare ,., V ,., r-, (5) ,., I'"--J

47 &ij 4~ i rII, ~ J fr IF rFrIrrEriff JJ IJJ fr IrFrr Irrr r In ~ J:11

II
IIlp./Vpos.

Etude
RIES
Also practice slowly, using a separate bow for each tone.
Prepare ,., V (3)

48 II! ] j ~ : II: tJ DB d 18 JJ tJ 81 tJ tJ tJ D Iid ~~ tJ !~ I

1 1
Illp.lVpos.

'-E - - -
&ti 0 nUn Ig H n fr Ir =f r ff 0
(5) (7)

I(f Fe til' rr I

(25) --" (27)

'ti fT 0 (f Cr IF1 (E rf ft In ftc t CF I DtJ bl tJ I

18 of 56
Key of 0 Major

Etude
SITT

19 of 56
 Shifting to the Fourth Position
The student must remember that in shifting from one position to another he is NOT to take the finger
up and put it down again; instead, he is to slide into the higher position.

FROM THIRD TO FOURTH POSITION

IKe y of C I r"!
(A) r"! (8) ~ 2 2 (C) ~ (D) ~4o ~4o (E) (F") (G) _ (H) r"!
1.---,1::-,\1 ,......"
1)
----f:.f:."'"
1)
t:.t:.t:t:. r"! r-: 4 4 4

$11 rHr.II,tfff'llftttllynhll,riti :11:rr [1 ,ute FlHI.fffr ill

I I 1) 1)

51

FROM SECOND TO FOURTH POSITION

20 of 56
 FROM FIRST TO F'OURTH POSITION

Shifting from One Finger to Another

The student must remember to shift forward on the finger that was last down, and likewise to shift back-
ward on the finger that was last down. The student also must remember that the small note in the following ex-
ercises merely indicates the movement of the finger in shifting, and as the ability to shift from one note to another is
perfected, the small note eventually must not be heard.

21 of 56
 Etude in the Second and Fourth Positions
SCHOEN

67 '1 Prepare

dO j j
3 2
122
n V (5) 1

Ilop JIJr er Irar r Irrr r Irar r Ir r r I=== t r( r i

II pes.
IV pos.
~ ~tEE

,cfrfftrr;')afrrrUICfErCCrrlr Err r I~cffft(cn

(13) (17) k
, rr~frEE(; I; 9 I] ~r 10 In JkJ laIr r r Irrrr I#r ee tit ern I
II pes.

(29)

, fa r)f I_trr Ir rtr IrtU[rW ,PH EttJ IJr r"r Ir#H he I

2

i p~.
$(33)r #e Ve Irtbt r I#r rVe INr r Pr Ire ErrErt IfffEr f r I
(i5)

~ ~ ~
, fdrcue IrfrUfrr ItHfJJJJ IJ Fa r IFgJ aIJr U 1[2jj I IVpes.
II pes. "pos.

(i9)

, ~J'lrbr Irtfr ~(rtffffftffturr r ICUi H JJ IjndJ JUJ I

IVpos.
II pos.

, P J3JJJJ(i; Dr dl t ftfftlfffrffftit Ef f If
IVpes.
I :11

22 of 56
 Shifting Etude
(Through Five Positions)

BLUMENSTENGEL

*dO P r [e r Ir tr rtf f t Iff fa t

'4 3 (3)

68 Il
3 ,V pes.
f
I pes .
CE I d j P Jb I

(11) b'4 4, (13) 1

, [[rEICer r IjJJJ"~ffIT ITUcllE G"rr IPrEr"fHf I

"' pes. V pos.

4
~

, "JJJ Jc#E rt I#f rfJEhfs. IJ JJ3tr cHI IfnJ rr U I

( ) 0 (21) 1

"' pes. , pes. "' pes. V pes . , pos.

(23) 4, (25) 'i' (27) '"'

, jJjsrC Fi ifrftCUJ Imad ar IhzFfc rrI[HEEtEr I

1 3 1 g~ 4, 4

" pes. "' pOS. , pes. 'v pes. V pes. I pos.

(29) (31) 3 ~

, rFE rEt r; iJ j j JFE FJ If IT fIT f f t r Ir IT tf frrr I

'" pes. , pes. "' V pes .

(3 3) '4 (35)

, fr cf rrrfltffr-ftfr I CEu ndg 1~3 P r rtf IA nJ t :g

'pos.
,
'v pos . pes
.
4,
II pes.

23 of 56
 Advanced Shifting Etude
(Thr-ough Five Positions)
SITT

I pos. III pos. V pos. III pos. I pos.

rU d7f lUf ,l~f1 tfiJ=rp ,mill

(9)n

$~ EUa! " pos. IV pos. IV pos. III pos. " pos. IV pos.
I

~
(13) ~ ~ In ------ 1 (~)t. ~-..... t!:\o
.- CgrrTi lEi!ticr; IEtiEft: f f ItftEf tit £If ) I
I pos. \I pos. V pos . I pos.

III pos. IVpos. Vpos. III pos.

I pos.

24 of 56
 ~ _ ~ (53) ~~

'~F" tf!1?JlrifWfrltLfitf Elf ftf~ttfl

III pes. IV pes. III pes.

~ ~ . t:.~ ~~(57) ~
~~ £fEEErg~dtirrrlf rffrrf IE£f[FrrrFE(flf {ffrtirFI
IV pes . II pes. III pes. I pes .

~(61)~

,~ r' \[TrJifr la2fc[(r_I =fiiffffterul ffqfff difu I

rer l!d±:tJ I4lE!J Jl1W I j2J819 4221D I

3 0 4. 1 02 2 3

,~ II pes. I pes. III pes . I pes . III pes . I pes .

III pes.

25 of 56
 The Sixth Position
At this sta-ge of advancement,the st~dent, in addition to taking up the Sixth Position, should
turn to the Keloeber Artil>t Scale al/d Chord Studies for thIJ Via/ill, and in a systematic fashion,
study the advanced technical exercises presented in this valuable work.

Preparatory Studies in the Key of C Major

The fingering of the sixth position is the same as the fingering of the second position (i.e., identical
notes require the same fingers), only a string lower, and ata higher place onthe fingerboard.

71 'II j J 1 2
II pos .
I; j
1 2
Ij
1
j
IV pos .
(G String)

Ij j 1'~ r Ir Fin IIT r

(9) ~

Iff I
VI pos ..••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• _ •••••••••••••••••• - ••••_-_ ••

.----:! ~ P (13) r---,

,F EItrlrE IFf Ife IE FIE r 'ir riLl IJ j Ij j

••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• - ••••••••••••••••••••••••••••••••• 1V po s.
Ij - :11
II P 0 s.

'iJJJJ
,--, (5) .........

72
Prepare

I; J; : II:~JJ FIrmr m
V1 g~E~ ~~~g f ~ ,--,
Irrfq===j == I=rtrlrrr r IF JJr:11 r -I
121 2 3 1 VI pos.(Remain in sixth position.>
II pos. IV pos .

0~ ~o

4 r r r r Irrr LIrrc r Irrt f Irrr r Irrr r IrH r Irrr JIr rr tAl

26 of 56
 High Tones in the Sixth Position

II pos. IV pos. VI pos .

v~ (~

76 'Il t~
Prepare

H In k
II pos . IV pos.
r'1

h:g IT lEt Itt IE- If IT 1ft 1ft It - :11

VI pas.
r--,

(6)
Prepare r'1 V ~ r'1 r----,

77tll HHI~Hhg f It t IE EIt

II pas . IV pas . VI pas.
It f It IT IE EIf. :11
Technic Builders

II pas. IV pas. VI pos .

II pas. IV pas. VI pas.

Extending the Fourth Finger

27 of 56
 Sixth Position Etude in C

SilT
(Remain in sixth position.)
P~epa~e ~ V ~

81$ JJ J J iJ J F r II: (r rIfE Er lEE rf £[ ErifE Eerr EnI

II
12123 1 23
II pos. IV pos. VI pos.

rr ~ f fr I
(9)

yfft r rf C r IE rf fr f f f If[ ff FO [r I cr

$ fE fr fr [r I r cf f b~ f f fir f rrr 0~£ rIErr Per F] I

(13)

*iJJJrrtfJftrffnflff£rfrtfllfff[rfflifrtfft: r
(17)

28 of 56
 ~ ~9)

, rrrrEflflrrrrBE(J I[rfrfr[r IF1Ef[[rtIErFrfrEr I

-- (53) ,......

, cfrHfftlfrfrfrfr I[[C; {UflffCrfFff Iffffffffl

(61)
r-- ,...... (65)

, ftfHfrfI F?rrfrr r 1i5: crate I[Urcr"Ef I er[[ rr , a

,...... ~~

, (rEeEcEe ,EffHHrl fcfrErEr ,Hce {r cf,ner fH r ,

___ (73)

, ffrtffff,rtfrn rr' EE cftc Fr IfSCrO rr IJVJfr rr ,

(77)

, frrffffflHfifff,EfcfffEr 'fuCL[ErlurE f ~ :11

29 of 56
 Sixth Position Etude in G
RIES
(Remain in sixth position.)
'i ~:""'\ q ---.
n;II: f1'H HerrE rEt IfF[FIiEIf tFtrB[f rEI
Prepare V

82 ,till JjJ J I;
2 1 2 3 1 VI pas.

,t
II pas. IV p. VI pas.

ftt r
r , Err t t t rtf f Iff Ef "f r r EEr f t f ~ i I
(5)

*ti f f f f LrEr i [ Err f f r If~f r rae; rEb[ E ,r i ~ I

(11)

*ti r FEr [tic ~ rr t f f f trlE IF I Er [ f tic ~Ff r f fEr f 'Or I

Gi
rnn r rbb FI Em IF Cr f
r- r- ~
f £1 n [ ["r r I
(13)

f IQ r rtf

30 of 56
 (25)

r
~

,~ PC r "C\r Epm f t f ftc r IT IITf R r E\rn r r

~ ~

ar P r r r ~~___

t I

,t~EIT- an t*€tt r flf r tn TIft EEf E*r nfr F[E r I

4' 3

,~("l br1~r Hrflf(r

== "[if ~~= -: E: :-
.1 ijJJgfffifffftrr I
~ St _#~C Iii

'ti H pet r TI rr Ef r
(33) ~

E UHF I r
b :1)~ ---~ ---

fr H Iff F f t t f r t I
___

,t !f~t ft E [r ptr
l
E E r TI U I[ ffr Eff E~r TIE r r~c r rI
,tl[lr er btnfmrEtOr Ji.J J#j Ir r r~ dilJen, -ina I
,rlj §&Pr rn11rrE [rftttlE fEr effECr g;J :11

31 of 56
 Sevcik Exercises for Shifting the Position

SECOND TO FOURTH AND FOURTH TO SIXTH POSITIONS

G St; In
. 9 -------- --------- ----------- ---------------- -- -- ------------ -(3~ S t ri n 9 ------ ---- --- ---- -------- -- ---- ----- ----------------- ---

~
~e eJ 4!!E 1421 ~ 181;f!£ti I@!§i
ill • 11 1 4 11 1 1 1

83 I
( )A Stnng _______________ _______________________ ._._________________ n ng __________________ _
ESt·

i' ~ ~. YT: ~. (,) V!~ 1~~·······y.:::i·;7i

~ ~ ~r IrEf crEr f ICft attrf IUt/ffft :11

G ~tr i n 9 ___________ . ______ -______ .... _---- --.------.. --------.... - (3)0 Str i n 9 --------. ------ -- -- -------------- --------------------------

84 $Il 4lli9 gil

(5)
A Std n 9 _____________________________
wm i!!m
~--- .. ----------
ItmU
E St .
Or ItiE? W- I 2
n n 9 ------------------ ----------------.. --------------------------
3 4

$ WilifcEit IrrrpErrruf 7frfffiffirf I«tID_ ··1

2 2 3 4 2 2 S 4 2 2"~ 4 2 2 S 4

G St ri ng _______________________________ .. ______________________ .. ___ 0 Std n

85 $Il fp 3j JJ 11
1~a--=-----
Pililiu',itaU-jr I
~ I~fJ j ('( 1 3~3 1 3 3 3

(5) A Stri ng .-----.. --------.. --------------------

~-------------- E St rI. ng ------- - ----------------'----.----~---------------
1 3

~
sa H1E:! r I W aLrE:! f I crEEAr f If rt 1ft
I
~~
, " I
~,..
,
f~(')~~
, ' I , " .
~€
,
~ ~
, ·11

G St ring ______________________________________________________ ._____ 0 Stri ng

86 ~Il ~:rm9 1jj~5fJ:tmf lrmtiimiliiiiif

1 1 ~1 1~1 - L .I ~
(_) A St ri n 9 ________________________________________________________ .. ___ __ E S tri n 9 ------------------ -------- ---------- ----------------- ----------

i l~l/T:: ,~~(')~~ ""L~

~ d Ei (Cur I crew LCUf IrtrEE; tUff IrUtd fffh . 1 1 1 2 1 1 1 2 ·11

32 of 56
 Scholz Exercises for Shifting the Position

SECOND TO FOURTH POSITION

,., }vI 2 I ~
)t' t t" t -1 ~ ~l"t' ,Ij' " , , , '(O)'~'~'
2 I I 2
V I 1
I 2 I ~ ,., 2 V ,., 2
V

87 'Il (A) ' - '

f =f I rr
ll"l" L :IIFU rr I r r Er:11:
(B)

Ef:1I
E St ri n 9 ......................................................
(C),

rr cr
A Str I ng .................... _........................................ .

,., V ~212V,., V ,., V

88'dAd HIJJ
(A) 2 2 I 2 I 2 1 ~ ~

OJ
(B) 1 2 I

~ :11:@O@:II:j:3iJJJ IJnJ :11)4JjJJJjJI

2 1 (e) 2 2 1 2 1 2 1 ~ 1 (0) 2 2 1 2 1 2 1 2 1

-------- -------
D Stri ng .....................•...............................•.... G String ........................................................ .

FIRST TO FOURTH POSITION

3 V ,., 3 V
"'}I)1 1 I 1 ~~1 3V ,., 3 VI
(A) 3 -~.fl 3~ ~'}.fl 3.fl ~ d~)l ~ ~1
rrr Irr Er :lIf rr rr rf F:II
3.f!
rfr IfF r L :III rfrfrfqW
-fL .fl. 3.fl.

$" f
3 (B) 3 (e) 3 1 I 3 1 (0)

89
E St n ng ............................. _... .. _. ..... .............. A Stn n 9 ........ . _............................................... .

(A) 3
,., V
3 1 3 1 3 1 3 1 (B)
~ 3131~1 ,.,
3 1 (e) 3
V
3 1 3 1 3 1 3 1
('"
0) 3
V
3 1~ 1 3 1 ~ 1

90 'II ;p\Jj J I; J J J :IH@9ld@:II'J_tfr>JJJ IJ JJ J :11J;1'iJjJjJjJ :11

D Stri n 9 ......... ................................................ G Stri ng ..............................~....~..

FOURTH TO SIXTH POSITION

2V ~ V
g })121 212 1 2())121~ ,., 2V ,., 2 1~1 1
(A)t~- f~~ f ~ ~~ (~1 ~ ~
91 ~ (~ -I
(B)£;- E E g E E E t ( e ) 2

:11: - : 1 1 :
E String ........................... ...............................
r rrr 1r r r r :11: r>
2 1 2 1 2 1 (0)

ErE r ErE :11

A Stri ng ............................................. _............. .

( ) ,., 2 V )'" 2 1 2 V (e) ,., V (0) ~ 1 V

~
92 'II
A,
rJ"'r r rIr r rr :11: G@ :II:;;N JJIJ J j J :11: 4:~un!lj
'" 2 , 2, (B

D String ...........................................................
"" ,..,"" '"

G String ......................................................... .
2 , "
:11

SECOND TO SIXTH POSITION

4V ~ V
"2 (10 1 4 1. ~1
1 4 ,., ~ V
1 4 1 4 (J.f) 1 4 ~1 Y 1
(A)(=f~~ ~ ~ ~f (B)E/=fEEEEE~(C)4 (~1)1 4~ ~1
93 '(~ - I :11: -
E Stri ng ......... ......... .•......................................
:11: r/- rr r 1r r r r:11: r -ErE r ErE :11
41 4 1 4 1 (0) 4,-(.1 1)1

A Stri ng .......................................................... .

(B)'" 4 V ( ) r"'1 v i 4 1 V

94~
~~~~~1~4~1~4~1~~4~~~1~4~1€~~li4~~~e~4~~41~4~1~4~1~4~1~(0~)~~~4~1~4~1~4~ltB
D String ......................................................... _.. G String ................... ... _.... __ ..~....~..

33 of 56
 Etude Melodique
2nd, 4th and 6th Posit i on s

De BERfOT

'II ~ r grr rFf rif rn rfer Hrfft Er rr r;r B

P Also practice (1) slurring each four tones, and (2) slurring each eight tones.
repare I"'l V

95 II: F I FI
\I pos.

(3)

, ,ni Err r cf rj [ H; I d (1 rc Pi jnJH J\JJ JI

34 of 56
 ( 19)

, ntfrEfftrtftr\FUI~Efrrrrr~EffEfEE I

f) r E[ f f rf f f f r r [r r! lEt f f f f fref f Egi f t I

f) nt f ff [f f fEE r rr Er I sr hI IT f FE IT f f t gr 5 r I
,(25) rEf f f f f f f f f t gE[ Fir Ef Ff fEr f [ r F ~ ~ Fr I

f) (
r F} rEf ffEE r UDi I rII pos.
r[F b[ Er 1'j j] 13 J J
(2fi) ~

t11 rj r r Er kJ Jj 1J Jj I J JJ J JJ J J dfid J j r Err I

(31) ~

, k r r r E[ Cr EHe Err EEf If: rEf f!)f E; Lj JJ J JJJ I

35 of 56
 Shifti ng Etude
(Through Six Positions)
SITT

III pas. I pas. IV pas.

III pas.
(37)

,~ hr-hrfftf ,fflUqIUlfftfvr I;';Er[[UnrUH lIe ~ Errfl

IV pas.
III pas.

I pas.

(53) 1 1 b q b 2

~~ JMJJd Ie c~cr rf IIEE EuNtHff VI iff HflhHtclEbr I

III pas. IVp. VI pas. IV pas.

36 of 56
 2 3 (57) 0 0 0 1 1 (61) ~~ ~
,~ ~J~J~J JJ IJJlh JJ JI\j~JjJJJlrrrrrr ICiCCiClfH+t!1
II pes. I pes. II pes. IV pes. VI pes.

(69) (73)
o 0 i 0 0 ~t 1 !:~¥
,~ Jd JJ#J JI~JJJJJJ I~rrrp'! I#JjjJJ J I~rrn iff ItiCfUyf I
I pes. I..J III pes.

(77)
2 0 i i i 0 oJ 0

,~ fHrrrlcc[[rrIJJJJJJ IljjHJI J dJJ JiJ lrurcfl

~
I pes.

-r err IftfffFluffff frdWr If rr IrccrEflffHul

(81)
1 1 ~ !~ -#- !t 2 r-- (85)

IV pes. VI pes. IV pes.

1 € 2 (89

4ti feEfEf IfcfffrltfffftlftEc Er Ir#r r [r r Ire r Efn

VI pes. IV pes. II pes. IV pes.

(93) 1 2 (97)

'ti {flHfF If crtEflfffffr ItHfft IHEr U I[Mer r( rI

VI pes. IV pes. II
pes.

(101) 1 (105)

&~ JljJJJJJIJJjJJJI;J JJ1nl f? r IfftlfcfHFltrcEffg

I pes. III pes. IVpos.

&ti EfflEE
~ '~~ ~ t t
(109)

pf;ttErlucrfntEffcrlFErrfJ UHrl
<> ~ 2

VI pes. IVp.

37 of 56
 The Seventh Position
Preparatory Studies in the Key of C Major
The fingering of the seventh position is the same as the fingering of the third position (i.e., identical
notes require the same fingers), only a string lower, and at a higher place on the fingerboard.

E Stri!2.S1
A String ,---~. 4
~ ~
D Stri ng
n 4 1 2 n.

~ e J] Ij
Prepare Gr'1 Str~ng ~ 1 ~ ~ ~ ~ .Q. .Q..Q. --

97
1
JI
2
0
1
I
2
CI I or I
3 4
0 In I I 0 I I I I I I I I II
1 2 VII pas.
III pas. V pas.

(9~

98 ~!l j ] Ij
III pas.

r.,
G String

V pas.
j 1<) ;J I
(13)
n (5)

IF r- IF
~ ~
r Ir f If5 t It [ 1Ft I
f: ~ ~ t: ~

VII pas •..•...•...................................•......•................................................••.••...•

~ t ~ r--, (17)

-$ [ [ It f It f If IT IfF IF FTF d I]
. .....................................................................................................................
J I] ] Ij -
V pos_ ....... .111 pas ......... .
:11

,-, (5) SCHOLZ

99 'IP~'i~'~ II: ~ j rr Irfr eIriffltEEt IfEU1Efir IFf? rIrr JF

1 ~ 1 VII pos.(Remain in seventh position.)
:11 F= - I
G String

SCHOLZ

(9)

, rfEtlfftf Intfr It err Ie rr r IF rr r IrJFdIJ r Fr If rr r I

(17) (21)

, rr rr Irt r f Irtf f 1ft Er It err Ir rr r Ir r rr Irr p :11

38 of 56
 High Tones in the Seventh Position

1"'1 V r-, (5) 1"'1 r--T

1024I1Tr~rffffll:¥f3f (It f If. If f If (If rI~· :1

01212121
VII pas.

1"'1 V (5) 1"'1 r---.,

103 , ~rr'i Iffffll,ff Jt f 1ft If. Iff Iff Irfir. :1

II
01212121
VII pas.

1"'1 V ,---r (5) 1"'1 r---, r--,

104 $" [err IrtfJII:! f Iff If ( If. Iff If ~ I f If. :1

o 1 2 1 2 2
VII pas.
r
Technic Builders
(A)
1"'1 V (8)1"'1

105 &e PiT~'r frtfll:VfElffftlffffl ftft:II'WIITW Iff~flmfll

012121 V
II pas.

(A) V (6)1"'1

106 +1 ~T;';.,fffll:!ffflfffflfEtfltftfll:tffflfffflfffflffftll
01212121
VII pas.

Extending the Fourth Finger

1"'1 V 4' i' (5) '4 4'

107 &ll Err ~~!f Ilflfl rrIFEftlE f ,fift, t f IEfft, ~. :1

VII pas.

39 of 56
 Seventh Position Etude in F

SITT

~11 V ~ ~ r ~f ~ ~(,) ~ ~ ~ r-

'~Il
Prepare

108 J J r r IF r Fr liFe frrtt fiE r riff ItErrrtt f I

1 2 1 2 1 2 11 11 VII pos. (Remai n in seventh positi on.)
D St ri n g ..••..••.•.....••••••••••

:-'\ (35) (37)

,~(33) fr ffftffliUfffif1tffUi{flffFff£(flf?fFfE {fl

40 of 56
 ~
0>
,....
'-' IllTl ~
IIliL.E IIITl, llnl;)
I)
) II~) 11 rum' ..lim )
I I r++t.I. II1III I 1- 11 111.

) II~'\ 11111" ~\ II~ lWl)

I
.......
""....,
'-'
)
II~, II~\~ IIr1tt~ ~I)

) IWI)
)
.......
....,
'-'
'" ~ rill[ ; IlUI) UllD
) ._ .. ~

) WI I')
.......
'",.,
)'-' !M..;
l.-rTa.
)
.......
....,
,e I~)
)
I)§ iW rmtm.~ rntt., ~ ~
)
E I
.......
'-'
""'"

41 of 56
 Seventh Position Etude in G
SCHOLZ
Also pr-actice slowly, using a separ-ate bow for- each tone.
~ V

rnA 81) IDA aD 100 d11) IDA mID

Pr-epar-e

109 $g II JJ J J
2 1
G Str-ing
2 1
II: 1
VII pos. {Remain in seventh positionJ
I

FEF I :~ .h :'E !.
~.
--- iW fffi I ffi} fID tZE? em I

4' '4' '4 4'~4' 4' ~

~ ~ ~ ~

r r f t Irr rr rr Er Ec f r r r [f I
(11) ________ ___________ _____

$# FE U Crr r rr U

,r EnTre fm iffftrri lifEr ffrrfffirt1b --------- ----------- -=---=---

r u err fF?r frf1 rr r rwfa t

(15) ___________ ~ ~

o
!:.___________
t
~

fa t f rg r f fa r I
0 0
::----.....

~~ ~

ega lEtD £iEg

(1 7)

&# f fa f Efa f rID mIl #2tJ

() 0

42 of 56
 ~~~-----------------~---------~
,~25) t ff f FE IT EFE EE Fi t f IfEE f eft ff FEf t Fi fI
i 4' i i 4' 4' 4' 4'
--------- ---------
,;") Ef fr if if iE fr tff t lEW F~tf t fErE TIt f I
~ ~ ~ ~ ~

43 of 56
 Shifting in the 3rd,Sth and 7th Positions·

G String
V 1/1 pos. I pos.

J IJ J 3" J J J
( ) 2
~ j 1 :±
---(:;i pt ~ -,}
:11 1:zJ II
1 1 2

III pos. V pos. III pos I pos.

V
,~tte
111
J 1
J(~J
.....2 1
J(~\j J ]
2
)

1
J 1J J J 3_ _<J) J ~---(~ ~ :11
1 4 2
1 2
J II
V

ElJ JJf'~ ltD)

III pos. V pos. VII pos. V pos, III pos. I pos,

I ~ ~M J-l2 :11 J II
III pos.
r-,
V pos. VII pos.

J.)~l~"~3
v@vPo.
d
III pos.

113
$e j JJJbj
1
2 1
JryJ
1 2 ~-(~
;11
J II

D String

III pos.
ltJr;J 3 J :11
1 2
---- j II
I pos .

V~----------------~
IFF E r~)~ i(!;]
1 2
3 :11 j II
III pos . V pos . III pos I pos.

V_ _

2 .2 1
IF E II
III pos. V pos. VII pos

1 1
II
V pos. VII pos. V pos. III pos.
III pos,

* As taught by the eminent Dutch violinist and gl"'aduate of the Royal Consel'"vatol'"ium in Amstel'"dam, Holland,
Professol'" K. Bel'"; ng .

44 of 56
 A String

III pos. V pos. III pos. I pos.

III pos. V po s. III pos. I pos.

120 ~e ?lI
III pos. V pos. VII pos. v pos . III pos. I pos.

r?~}r) r r~(h 6
V
tf7 ~
2 2
~ ~ 1 l
1 21
>+
~ff;h' L
1
E E t; !== Itt
1!:- .fL
t F" ( ) f F' (~E
2
F :11
2
r II
III pos. v pos. VII pos. V pos. III pos .

E String

~ V

r r rcJr)i rl§)f f tit f f-(.Ii t Q<~ r r r 'II E

2 1 1

122 ~##lI(1 II
III pos. v pos. III pos. I pos .

~ ~1 jr)l ~t:~~~
123 '~!I rEF f - f fEr IrE t f'< fpc)) r r 'II r II
III pos. V pos. III pos. I pos.

III pos. V pos. VII po s. v pos. III pos. I pos.

II
2 2 V 1

125 ,
#JIt(~ f cAlf fPf f f f If t t p-(t>f f,<h£ r :11 r'
II
III pos. V pos . VII pos. V pos. III pos.

45 of 56
 Etude Harmonique
(3rd,5th and 7th Positions)

De BERIOT
Also pr-actice (1) slur-r-ing each four- tones, and (2) slur-r-ing each eight tones.
Pr-epar-e r"1 V ~

126 ,U#ll [ ~ II: ~ r[rrfEr rrEftftr I, rr rsUrf[ rr Errr I

III pos.

(3)

,Un "OJ r[ [ ~ gE CJ rr Er IFFf F rrr r J.J OJ J~Jj 3 I

,ut j JJ J j JJa J.J j J r r r i IrE Gf '~E rf rEf f rrr E @

'4'

.#;3) @r![i\fr \ff eflrr H n Ierl[J\t/Pf#ffff f~fE C

q~
rEr LEEr cr rr f r E;
b f:
t t c;
(15)

,Un IE I~Hlr; t

46 of 56
 (29)

'tin b bG GFUR r c-
~
n Jj I j JJ ; J j JJ j.J j ~ I' ~ ~ r I

(33)

,tin 6 di eH; E[w- n J j I j J J ] JH J j.J jJ r rr FI

~ E ~ J J~ ~
III (3.).
CUrCH rfHtrfsftcl "
feria :11

• Remain in the third position, merely stretching the fir'st finger backward .

47 of 56
 Shifting Etude
(Through Seven Positions)
SITT

rrrwrfrfr ''"-E (,) ,

Also practice slowly, using a separate bow for each tone .

127 4#j r
ti
I pos. III pos.
IrrrFf rUr r rill Ifrtf(\r[ff ttr I
V pos . VII pos.

~ (')~
4~~ zffrtffff[tf I Fe FrFHff~ I«frfter r5~ ~ I
2

V pos. IV pos . II pos.

rt rcerr F FJJ JaIiff] JJ30qW I e·cFrF[r r~ r r

(7) 1 4 (8)

E E @
Ipos . IIlpos

,#JI EcEF rE"~ r r ra frtf(\fffffUf fftrEtfFfftr

(11)~

I
V pos . VII pos.
I
2

V pos.
I
(13)

[or f "[FtHt IUf=rft t _ ;"~:ffi rc rr RV I

IV pos . II pos .
I pos .

# --r ~

i
(17) 0 1

,~ j JJJ 3J J J 33JJ IJUd 1 JJJ J r ['11 EEL! Err Fer CFI

III pos.

(21) . _ _- - - _

fI' ("e c"c rrcHErrin IttfflifHHrr I Hfftfff HU I

V pos. VII pos .

(2:;);;:; 0 ~ (27) 0 4

~ti~
t JJJ ~ r rR[ FC F r. u r ErE r Fr r I, ErJ, r a: ~ r ~ rEI
Fib;, III pos . I pos. III pos .

48 of 56
 (29)

IJI r2Hsr H nlfr IfEtffrfttfffltfftf-ffffffJI

I pos. III pes. V pes.

____ __________ (35) 0 1

Jfl JjJJtCDrrrcf I&EtJHrEcrFrlrtcrrrrrtrftl

III pos. I pes. III pes. I pes. III pes.

~0 ~~

,. fur (rEfUfE Ififf fUrriEr ItEff (EffftE f I

v pes. VII pes. V pes.

, rift rrrFi2z:
~
<;'3 Jj j JJ J j dJj JIill J bE r rbrF rI
~
III pes. 1:. 0 Iii I
I pes. III pes.

ran lifE EF HE[{ftr Irrtf rut Eft f I

(43) 1 (i5) 1

1ft rsfirr
~ • • • III pes. IV pes.

(47)

E E~
f#
0 4
3

frfttifr ft IttffrtffftFr lUre [U Be[ r I

1 1

Vpes. VI pes. III pes. II pes.

~~ ~O 2

IJ# f@urrFilt l[rrrsutU:frIEteffHftrfrl

I pes. III pes. V pes.
~--__ (63) _ - -_ _
. 1 ~ 2

&#1 tffEftrttftrlttff fEffEter IfIu r tr r @? I

VII pes. V pes. III pes
. I pos.
~
'i'

Wr JJJj 3D) 1;141 JJ 9! 00 I ffffiCCTt

(55)

&~M II DOS. ~
:11

49 of 56
 Schradieck Exercises for Shifting the Position
(Second through the Ninth Position)

SHIFTING ON THE "E" STRING

The following exercises also should be practiced in a descending manner, i. e., from the IX position back to
the II position.

r"1 V~ (2)1~ 1~

.28 $~i E11iIfh ,rEt fEr r It Eft tift ffFf tEff I

'P F(')'T
($#,) f;rrtEff~tHf[ '11r
Iffffziftrf&fz ftllf II
VI pos. VII pos. VIII pos. IX pos.

SHIFTING ON THE "A" STRING

129 $1 en FrfEr Ell F rift IE FF rrFr r ErE r tE E I

r"1

II pas.
V

III pas.
(4)
(2)~

IV pas.
_____
~

V pas.
F
1~ 1.~1--:::l:.f:.~~

, 'fIEtth rrtt fUr Itffrffft Utf EEftl1 f

(3)

_ II
VI pas. VII pos. VIII pas. IX pas.

SHIFTING ON THE "0" STRING

r"1 V _ (2) 1

JiE2:flJ £B~J I a1 r eEl? rEI F eID I

1 9 1 - 1

130$~! II pas. III pas. IV pas. V pas.

$~
(3)

mr rmrrrrrwlcrcrHrdrurqqr
VI pas. VII pas.
(4)~

VIII pas.
~

IX pas.
II

SHIFTING ON THE "G" STRING

t I ~ Y (2) 1 1

Jaw j J JJ J 1J J J J j J j I JJJ J J J J J @ J J §
131 @b?j
(3)
~
II pas.

~
1
~
III pas.
(4)
----------
IV pos. V pas.
I

- II
1 t 1 1

,~ 42JJ£JDtUJ~rolr-ijFrE?lrF£rF@:llr
VI pas. VII pas. VIII pas. IX pas.

50 of 56
 Arpeggi Through Higher Positions·
HERMANN

(A)

132 "a ()

#; ~.
1 1b~~
'* J~iP rf br f ~
1 1 4

~~fE Ef
•

133 IT I (8)
t :11: Jn .~
$ ~ !: E ~ - - :I -
* :11
- v pos. VIII pos, XII pos, ~ !! V pos , VIII pos, XII pos,

(A)

140 tI
'" A..-peggi finge..-ings a..-e optional . Teache..-s should substitute thei..- own finge..-ings when they a..-e bette..- suited fol"
I :11

51 of 56
 Allegro de Concert
DUET
HENNING

IFirst Violin I
r1 V

(3)
141
(Second Violi n I
r1 V

~
fl I ...
(5)
1 .fl- 2
~ • 2 1 ;. e: ! ~b.. 2
( 7)
1
4,
0

(5) (7) 4,
rl L
- 4, 4, 0

U ....... f~'" -J. 4J. •

(11)
(9)

(11)
(9) 4
o

(13) (15)

(17)
(19)
1 1

/
L ~ ~ ~ ~ b~ ~ .fl- ~ .fl- ~~~ ~~ ~~~I}~~. -

\ f!)

~
(17) (19)
"l I

52 of 56
 2

(23) 4
4

, L .fl- • .,.1 2 • _
(31)
_.~.fI-~-fL~
1
.~~.1 ....
,
)
"
~

II L(29)

~
4'

- .,
(31)

•o •o
o

,
(33)
I 2 • _
- .- (35)
_. ~ .,. f:-.fI-...
1
• -f- #-. 1 ~ •

) ~

' 1(33) (35)

I
\
t.. ., .,
o 0

,
I

~
1
(Zi?)
2
.- - 1
• -
( 3 9)
:-.
1

~ -fit ~ ~ F ..

)
\
I. (37) (39)
- ;';)

t. "jI
• iI
•
53 of 56
 Etude Britlante
(Through Higher Positions) De BERWT

Also practice (1) slurring each three tones, (2) slurring each six tones, and (3) slurring each complete measure,

i ?t tH
~t~ 1 1 2 • (a) , 1

142 $1\ ill) Je: urEtErf Irrfff· tEr [E r 11Jsct;fftftt I

a .!!, rvpos, Vllpos, !Vpos, 3 0 Vpos, VIII pos,
I pos,
~

~ 1 1 (5) 1 ~ ~t: !: 2

pEt Eft(er fEr I) 30 drffF frf I tEtfEr tEl [E!

Vpas, 3 IVpos, Vllpos, IVpos,
I

Ipos, ~

(7) 1 E ~E £ 1 (9) 1 ~ ~~
$ jj J rEf rEEfEr IfEr 5ft ftc f[r IJj J rtf (EEnE I
Ip,lIlpos, Vlpos, IXpos, Vlpos, Ip,lIlpos, Vlpos, IXpos,

'4
r= #i i ~~ E#
roo
1 (11) 2

, frf rtf f fir (E; 1j;jg c:#Ct ( frEfr If fr5Er (vr

VII pos, V pos, I p, III pos, VI pos, IX pos, VI pos,

(15)
(13)
o 1 1

II I p,Vpos, IIlpos, IIlp,Vpos, VIII pos,

Ipos,

~ 2 (17) 1 b~
, tff fft frr (j;ttJ J~dJ btff ffr I itbifrr f ~ r EfYl
Vpos, 0 III Vlpos, IIlpos,
~ pos,
I pos,

. bIpos,
i f ttft! f r,. Cry I jJ J to rtfrft I
, 3d JiN t flEEI
(19)

IV
b b
1

VII pos.
b 1

IVpos,
(21)

~ 0
1

VI pos,

i '
pos, ~ Ilipos,

(23) 1 1 1 2 4
a

4- ifriu C£:r=dJ] I-r III pos .

!l±Cit ErE EEl EEfEr; LEt DE; I
IV pos. VII pos , IVpos.

54 of 56
 (27)

2 1 1 1

IVpos. VII pos. IVpos. VII pos.

Ipos.
'4
(29)

1 0 0 0 4 0

IVpas. IIlp.Vpas. III pas. I pas.

I pas.

(35)

2 0 1 1 2 0 1

VIII pas. XI pas. VI pas. IX pas.

Ipas. '4 I pas. III pas.
'4
(37)
3 2 1

IVpas. VII pas. VII pas. X pos. VII pos.

Ipas. 4

(401)
o o 1 0

Vlpos. IXpos. VII pos. VI pos IX pas. XIII pas.

p~. ,~~ p~~ , (.~;p=. ~

rim
I I 1

,(")~j J EtJ fN tEf If tEe ff~frt r 0r rff~!Er I

IV pas. VII pas. V pas. III pas. I pos. IV pas. VII pas.
Ipas.

55 of 56
Etude d' Arti ste
(Solo for the E String)
CAMPAGNOLI

56 of 56