a comparison of the violin pedagogy of auer, flesch, and galamian
Galamian Contemporary Violin Technique[Scales] Translatable MULTIPLE LANGUAGES
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Transcript of Galamian Contemporary Violin Technique[Scales] Translatable MULTIPLE LANGUAGES
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Ivan GalamianFrederick Neumann
CONTEMPORARYVIOLIN TECHNIQUE
Volume OnePART 1
Scale and Arpeggio Exercises
Catalog No. 1.2356
GALAXY MUSIC CORPORATIONa division of
ECSPUBLISHING
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Preface
This is the fi rs t in a projected se ries of three books intended to present a method of studycovering the es sent ial elements of contem porary violin technique. Sca les and arpeggios insingle stops (Part I) are integrated in an entirely new way with a system of bowing and rhythmpattern s* (Part II). By application to the ex er c ises, the patterns are designed to help the studentderive greater and quicker benefit from his scale and arpeggio practice.
Since technical mastery depends more upon control of mind over muscle than upon mere agilityof fingers, the direct way to such m astery lies through working proced ures which present aconstant challenge to the student's thinking pro cess es . For this reason new problem s mustalways be faced and solved. To provide such new problem s in almost inexhaustible supply is
the chief purpose of these patterns.
The patterns a re in two ca teg or ies : Bowings (designated by B) and Rhythms (designated by R).Each category is divided into sections, coded B1 to B16 for bowings, and R l to R16 for rhythms.The numbers indicate the number of notes in each pattern. For example, the following bowing
pattern is regarded as a two-note pattern, being made up of two-note components*"'# and is therefo re listed under B2. The design "T'-# "T"# is a four-note pattern and
appears under B4.
The sam e princip le applies to the Rhythms. The following example J. J. 3 J. 3 derives from
the two-note rhythmical figure n . Accordingly it is re fe rred to as a two-note rhythm pattern
and is listed under R2. The figure JT3 ITj is a three-note pattern (R 3 ). The figure
All three-note patterns can be applied to any exercise employing groups of three notes or anyof their multiples. In an eight-note ex ercis e, a ll p atterns of B 1 ,B 2 ,B 4 and B8 can be combined
with all patterns of Rl, R2, R4 and R8. In twelve-note ex erc ise s, all B and R patterns of 1, 2,3, 4, 6 and 12 can be combined. This ve rsatil ity of application perm its a single pattern to beused for seve ral different exe rc ise s. Innumerable combinations of B and R patterns can beutilized, as well.
The following illustrations derived from Chapter 3, Part I, will demonstrate the method ofcombining the ex er cis es with the patterns. The applicable patterns ar e:
B l, B2, B3, B4, B6 and B12
R l, R2, R3, R4, R6 and R12
3 6
is a twelve-note pattern (R12).
3 ____ 3 3 3
First Primary pat tern: J J- ] ] J j j J J J J j J ||
Example of exercise:
Application of its first primary pattern:
*The guiding idea of this integration is explained in Ivan Galamians book, P r i n c i p l es o f V i ol i n P l a y i n g
and Teachi ng, Pr entice-H all, In c., Englewood Cliffs, New Jer sey , 196 2.
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Application of B3, 2) i with first primary pattern:
Application of R2, 1) a)detache, b) legato
Combined withJ33, 2) #n and R2, 1)
3 6
Combined with B4, 3) "T"* and R12, 8) J J~3 J7 1 JJ JJ 5 5
At the head of each chapter in Part I B and R code numbers are listed to indicate the applicablepatterns. Primary patterns in which the ex er cis e should fir s t be practiced a re also given.
To fac ilita te the use of various bowings, rhythms and the ir combinations, all note-heads in theex er ci se s are printed without stem s. Bowing patterns are shown by note-heads which do not
indicate any spe cific time value, m eter or rhythm. Rhythm patterns are presented without anyindications for specific bowings.
Wherever two different fingerings are given (one above and one below the notes) both are to bepractice d. Other fingerings should also be devised. In some ex er cise s in Chapters 10-12 ofPart I the use of "creepin g" fingering is suggested. This technique is briefly explained in
Chapter 10.
The teacher will be the best judge of which bowings, rhythms and the ir combinations will mostusefully serve the needs of each student. It is suggested that the patterns be utilized in a diversified fashion and that the rhythms and bowings be employed in constantly changing combinationsto stimulate continuous int ere st. Chapters 3, 4 and 7 of Part I contain pa rticu larly important
material for such treatment.
We hope this approach to the problems of contemporary violin technique will provide interestingand profitable results for both teacher and student.
Ivan Galamian
Freder ick Neumann
GMC 2356 Hi
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Table of Symbols
Symbol
I, II, III, etc.
G, D, A, E
D ------------
2 2
Definition
1st, 2nd, 3rd Position, etc.
Strings
Stay on the same string
Continue with the same finger
Reach up
Reach down
Keep finger down
Remain in position
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1
Scales in One Position
Groups of eight notes. PATTERNS: Bl, B2, B4, Bs, ( B16)
Ri, R2, R4, Rh, (R16)Primary Patterns:
Practice this exercise in al l the major and minor keys . *
I . - .
*
$II
$II I
T *
m +-
-+T
t
TV~w ~#.
$ *
$
VI
$V II
dtZMZ
E x a m p l e :
Th is may be con t i nued into h i gher pos i t i o ns.
*
*
GMC 2356
Copyright 1966, by Galaxy Music Corporation, for all countries, a division ofECS Publishing, Boston, Massachusetts.Printed in U.S.A.
1
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Scales on One String
2
Groups of twelve note s. PATTERNS: Bl, B2, B3, B4, B6, B12
Rl, R2, R3, R4, R6, R12Primary Patterns:
i ; t j r n r h r n i ? j m r m f m i t j m n / m n
P rac tice this exe rc ise on al l fou r str ings in al l the m ajor and m inor keys .
ONE-FINGER SCALES
A G . __________1 1
^ * -
9 9 m -.u ~~~~ -------- _________________________________ ^ ___________________________________________t t _________________J_________ ...............A . . . A 9 # m
f f H 1 1 1 1 ---------- __ 9 9 9 , a . 4 ...............4 ................ 4 ............. a 0 9 m ~ ~~ ..................
W 1 m 9 9 o * 4 4 4 . o 9 m i '
i t - + 2 3 3 3
i i 1
z 2 * ? T 1 1
TWO-FINGER SCALES
0 G . 1 3 i
------ 9 ----- ^_________ p___ _____ ___.. ........................ ----------I# 4 ' 9 9 ' .....9 .....#.___m 4 ...............q ................................... .............. ...- _____
M 4 1 9 O ............ ...-jft.......9 .......M...... 9 ....... i ...........o .........................-..... IlH t n 4 o 9 9 ?----------.... ....... -------------- -------q----- -----_--------9----- 9 ----- .,---------- 9 ---------_9VHJ 1 2 1 2 m m 9 o L .... ...... ..............4.................. 2 ....... * L ... 9 ...... 9 ..... .......... ..........2...........
y + - t ? 3 2i d
3
2 GMC 2356
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F O U R - F I N G E R S C A L E S
G
i 4 ..........................................
J T A ^ ^ M A .......- .... - .................................................................J r < t m w ( o 9 # m i ...................................
I J I M \ a 9 m m
A S t t 4 m ...........m 9i 9 9 m 4
*
4 GMC 2356
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*- -V * 1 * =
$-4------ 3- fr* 'b. *
, * *
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4 4 Et l * ? _*. _ 4
$ $ H * ------- ^ k ^ - > t ft JlkOf 1 ..f4 ................... .... - - ...- : ::::------------------------------------- "---**-xw -------4---- 4-----------------------------
---------------- *T * ^ _______________ 1:=g-. q
(1 ] #=
~w
E
4
-V-4h
(3) (D m * 1 ^ A _ = = = =
.. Wi r/ .....* .........9 i 4
..j * IV , A 1 ir#k 4 ~ m m 1-J^i._____;___M---------------------- *----m----* ---- ----------------------
2
I A
i l i i 2= =
23567
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( 4 )
' i b
= i ^-4 --------- _ y
( 3 )
1#-
(1)
, 4
^ M. + iT = = = = ^ # .
m
p t a
( 3 )
1=*=*=
(1!
-4--------------Jb-4-
-
t t i
. fr1
5 2356
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* #4
( 4 )
1.
(1)
a
0 u 1
J f | f t i ---------------------------------------------------------------------------------------------------------------------------------------------1 ----------------m ---------- ------------
fin P - f r ..... i ............................... ~ ............................. ............. ' 0 ........... ................ ................ ................. ....------------1-------------------------------------------------------------------------------------- =---------------------------1-----------------------------------------------------
~ t r ... * * ........................................... _ .... .................. ................................. .......................... ..............................
2
4 4
0-4------ 4-
1 3
$ a s-4----- 4- *
#
3C=S=
s i i
23565
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$1 3
A -m- (3 2)A
3
H E*
-4------ 4-
E^rKy.., ..................... "-------------- ' ; H ' r * ------------- :-------------------- 1----------------4---------------------# # # * . 1 ..: ................
2G
Al L ^ ^ = M. ^ r - * # ------ ------------------------------------------------ n------------ * ----0---m---------------------------------------------..... ..... .............. ' ' ......m..... .... . ...... ~ -*----W-.....p".... 11 w ..p
J P l > t>, b ..................................................:-------------- t / : f 1------------- ------------------------------- 1-------------1----------------------------
17 \> I * . m * # ....-. - --------- z z
3 __# ~
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D I* It 5j p ....;..... ~...... ......... . ...- ------------------------------ 1---------------!--- -------------------(fo. _...# ........m...................... *..... .... 1.......... .. ..... .......
2
G
. ? t it i ^ft 4- a- -- =
... * *
$D
~4
(4) 1
(4) 1
f e-4--------- 1-
# a a>_
in = i t ^
4........-4 ...- ........ -4-
(4 ,N
4+3 (; 2)# *
--------.-----_ # 1 ..---------------- 1----------- 1------------1------------1---------------------
f a ----B * * * ---------------- 1----------------------
D
4 4
A o #
s
Db t] 4*~s
-4-------------- 1---------------4-
9 0......-m + 90
2D
4 , 3
b\>A
4
k b l +
* ~ " r .B
-4 ------ 9--*-...-9-
(4 ) 1
9 1> , b ...... , - - * q # # ........... i
^ .............. .......... ....... ............................................................ 9 w ........................................................................... ..
---------------------------------------------------------------------1---------------------------4 ---------------------------4-----------------------------------------------------
fa b \? * 0 . 0 * * _ ! , j
12 2356
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Groups of seven notes. PATTERNS: Bl, B7Rl, R7
Primary Patterns:
i rm mii m rm ii
0 ..... #
m
2
==*=
0 ------------------------------------------------------------------------------------------------------------------------------------1 0 ....... .................................. ... _ ...4................................. ....................... . j t f L ---------------------------------------------------------------------------------------------------------------------------------- 0 m ------------ * ---------------------------------------------------------------------------------
J f f l J _ * * .. ____ 1________ --------------------------------------------------------------------------------------------
"I 4
m T
-t--------1- -4--------1-------- 1-
3 3
2 a - I - I - -3 m-
GMC 2356 i5
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Groups of nine notes. PATTERNS: Bl, B3, B9Rl, R}, R9
Primary Patterns:
I ~jJ T i m n . - h . - h s h i s h r n r n i . ~ h i h n
16 GMQ 2356
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Four-Octave Scales
Groups of eight notes. PATTERNS: Bl, B2, B4, BHRl, R2, R4, RH
Primary Patterns:
----- ' ' II70J 0 0, 0 ^ 0 II4CSSSSSrnSSSSSS9 EE&5E5! BE55E3539 (S35SSSfMM3S3S3* SSSSSST"1
/77T JTT 3 : JT T ! JT 73 : J J J J J7T 3 : #u j3 #f##5 : r m ,
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JL 'A* ! 1 _ jl ZZ i M_
p i -i~-4t-
2 3
a #-
IS3 2356
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( 3 2 ) 3
j * ----------------- 1------------------------------------------4 ---------4 -----------------------------
- - - - - J
j * ^ I------- --------------------------------------
---------------0-------------------------------3 ---------------------------- 3 --------- - - , , -|
.............
if = - , ....... * .... $ * * * -------------------------
( 3 1 3 > 8 ---------------------------
-----------------------------1-------- - ^ ............. 1 ----------------------------
* n . i , = = B3 *
( 4 2 )
; , ; . 5 .
t -------------------------------------------4 ----------3 -----------------------3---------
$ _______________________* * *-- w .... ......... x ............. ............
2
1_4L
3
}j~i i
CO| I
~ 7 ~ - : * .. - ^ g ::z9r:::- ::- ...- .TO p b ---------------------------------- .. '........ * .* - - ^ -
GMC 2356 19
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4Mm
i4 ^ -
,4 ^ A.t r t -
(4) .JL- ilL
L 2 m 2t#- -*- ^ ^
Ig=
#&
2 62356
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Groups of sixteen notes . PATTERNS: Bl, B2, B4, BH, B16Rl, R2, R4, Rti, R16
Primary Pattern:
i 1 1
$ *
E E s - 8 ft -
235627
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. $ $ $ ------------------- :--------------^ . r z -------------------------- :--------------------------------------------- ------------------ ------------T q
________________U---------M ---- w ---- ---->-----------------------------
r - - ^ p
M l i . j i i " . . ------------------------------
^
_ ^ T -------------------------- *- # -
p
------------------------ r ------------------. . . . - F =
^ 1 - = !
* T 1
------------------------------------------ , ' * * * * . ---------------------------------------1_____________1 ______ ------------------------------- ---- # -----V --------------------- -
r ~ -
i
0 ,J2----------------------------- ~ . [? -----1i " * m -----------H
1
r t
2-------------- , b -------------------------------------------------------------- * -
r * #
1
1 1 ? ?
1
M & h ----------------------- . > *
U| n 1 j*' I -------- 0 m . ---------- - ------------------------------------- --------------- 0 J
- T * 1
0 .................. . ---------------------------------,
...................... # # ----------------------------------------------------m m ------------------
2 ----------w ----------- ------------------------------- * m ------
J T ^ ^
i
1 1 ^ 4 2 0
. -------------------------------- A 1 .....-4 a t f ---------------------------
------------- a------------- ^ 4 * ------------------ ---------------------------------------------------- . "
^ T * *
i
n A ' , , < 0 1 : . * . J ! > . z = |
7 ..... ................................ ' 1 H
l 3
= = -------------------
^ r -
3
--------- L _ t f i 3 m m --------------------------------------------------------------- m -
OJ----------------- 1-------------_ . . w ..
T ' 1
---------------- ^ - r - * --------- ---------------------- ------------------- ------------------------1
- % - i . - -----------------------------------= = f c * = F =
1
0 ,
2
- # -
1
" i
, * ..... ----------- #
^ ~ r , - * ~--------------- ^
------------------- -- i 1 i =
------------2 M - * ------------------------------------------------------------------------------------------m 9 .
m
l
a ( 2 ) ( 4 , ( 2 )
........
W ^ T ^ r - 1 ' r f - M V i . . ;.-?------- ^^ 2 4
282356
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$
(2) (4) (2 )
4 1
4 -m 4 3
X l /i ---- .1 m * 1 3 18------- 3 1 ? # 1 4 hMAG j*L(2)(4) (2) ^ JL __ A
3 ^ I * * ^- ^ > 1 . . . . 1 . -f . 1 . * ------------------------------------- W* , ....... ................... ......... ....... ...............
1G
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.------- ------- - K _ 2
^ l l ^ f c -------------------------------------------------1? # ------------------- !-----------------------------------
i
l
l
i
l
1
i
j W L
= = 4
................ ............ ............. ...... a r ........- .......... ................ .... ... -
( k 1? .. .. .[7- ----------------------------------------------------------------e ----------------r r - 2 ...........
------------------ ---------------------------J ----------m -------- W.----------------------i ----------------------
................. m ...................... ..... ................ . - ...........
----------------------------------------------- 3 m 0 ---------------------------------------------
# ........\5 / ........ . . . # ......................................................................................................................................................#
- * * - -< --------------------------------------------- i--------------------------1 1 # 9
I &4
e ma -e-
M
A 3 U1*2 -0 -
-4- |2
J J E
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IT
h > I j k
--------- t ----1 . 1----------------- 1------- * ~
........................... 1
4
]l~ ~ - + . L 2
a )2 A _
.................................................. 1.......# ^ - - ......---------------------------------- 9-------P ------------------- i ------------------
w * = J ? f -------------------------- 8------------------------------------- 2 y , d----------------------- * -------1---------------------------------------------
L.. _ ...9 M ........ 0--------------------------------------------------------
= * * 3 = ^ * 3. M L ~ ~ t . . ...... I
------------ ------------------ 3-4 ^P-------------------
? f - - Z ? ------------------------------------ q* #.mE
1 * > - 4A I JE_ _ _ = = b ^ 2
m \u i > -
1 i bp7 p H m m i 4 0 A W bp l 3
- & & - -----------------------------------#-?T ------------------------- 4-----------------4 o 4 1 / ^ _
-------------------------------------------------------------- P -------------------------
V----------1 7----- 9 ....... ...1.........- ....... .......... t...... : .:z:.:z...................j t.l" :.:..1-.L--r N ---------*-------------------------s 7 P
2 2
~ ^ --
4 ........ 9 + - = - - -2 -
^ i i 3 b-p- bp
d u ; ^ = = =1 L ^ ....
P k f ~ ~
D
-i S-i~
E E
2
-1 ------- 9 - -P 4---2--- 1---3-
4 I 2\>JL 3
3 3
_4 -------2 ---P bp -3- p 1
nr-o
.b * . i
- T fe------ ---------------P^~/L-b------------- 1---- p i ----- i--------
................................................. # , f
_------------ # i-------- i-------
z@5=z i ^ ------ "zzzz --------------------------------- ^p- i #g-----------------
2
P"2
3 2 2356
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E3 = # 21
i -
(3
i
2)
-4----- 2-
pi = !fe i t ?
*
* = '
t o
* * * 3
- = = - * - 5 .
-------------------------- 1 ^ 0 *-fc'- - - -- ..-
1 -*-
_#_ z= z z
--------------- ^ = i i ______it 1
-+ -
M . + 3= Z Z i .
................. ....4'..' # j e z z z..Z.......A
i ... 0 * V ....- j T -v i
.... *......* * ..... = : . :.... :----------------------------.... ........ ... ......... -w r
--------------------------------------------------- m I
2
1
U f a , Z Z _ J L 2
---- -------------------------# -------------------------- 4-------------------4--------- ----------------------- j A - Z . - . i
$ : ; .
2
H------ 1----- a...m ' -----------: -------------------------
? ' ............
4
0 ^ = - * -- J ? --------------------- 3----------- 0 ..... # -------------------
* V
. . .. ....... # - J a ......................'W A A
-------------------, 3
:----4 # ...................................... .
i > .............. ........ - .......- .......~ "...................................................... ............
2
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i 8 - -
D - g, * flf ljP 4-L * 1 -1i L- T -..... -
1 h-i-
=i=
-4-----3-
D
- T
....r ...... m m , m 1 \> --------------------------i , i - " 3...." ...... ..a ...........i t 4____ a _ q...................... .......................... 4 " 4 I--------- * 1-------------------------- i----- --------
^ 4 Mjk L...............-................... ........... ....... m 1 -
J ! 2 -------------------------------- x- % m ------------ ----------------------------------- ----------------------------------; ----------------------#
2 1
i
S A k k t . ^ ----------
D - A j E
4 L 2 2 U21 5 # i ^ - g # . . = ^ -
----------- d h i # l 4 2 l 8
# A ' D ----------
. - i r i 1 __________,2------ ...4
w ) 2b --------------------------------------------------------- 1>
i 8 - - -
l | M .....T ........................................... .....? ~ ' T 1
.....1
2 D A
# .....
E 1
A 8 " e
? & * ^
-------------- ^ * T 4 2 T + -p *> b ; ..- g ----------- ? - --------------
3 4
w.......
4-----* ---- 4----- i-------------------------------------
2 1 I
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(4)' 1 3
*- 1
> L'P. It ----------- ht-i-------- # ~ #-------- --------- 4 ------------#ti-------- r_....................... # ^ ^--- --------- #---------- ------1 *---: y 7 T ... :-
----------- -------------------- ^ _. - i @ . - y - - ............ - -9------------ :--------------------
3 8- - - - - - - t 3* , * _ * M. M
. r ~ t ^
1------
o f o 9 v \> ------------------------------------------------------------------------------------ 0
L - i - * ---------------------------< * ------------------------------------------------1
1
1
2
yz i #.
n 2
At=*=4=
(2)' S k i
~wro
1 3
I
1"I 2
L- A D2 4
~aro
(4) (4)2
"P"0
- - - - - j 3
r t # m1**-m
8 ---------
p - 1 p
..............................i 3# m
{ / S i i -----------------------* j ------------- * i n ------------------ 0 i i A A mrmn v* m. 1 ~0m . . 0....VSj T l
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(4) 8 - -
2 *- 1
, ______________________> - 1 ^*---------------------------# 5------------------i ---------- -
3M . J tL -0 - ----
^ f ^ ---------
M . 8j ' 3' "
...... t 2 _ I" * 1 T T z4 J
-
1
1.......... ..... ------------ ------------------------ 0 *
1
n 17 p.......... + m
H 1
-I 2
.m. -*-b# ~~
iD
ib # ~ .
: i i b -* - b # ..
: b # - L ~ ^ L~ ~ b # ~ ~ ~ ~ .b '* i 3
$ i=
2
J j i J s
1 [
4
$$ ~ * T
(2 43)
4 =fe
t ^
IP
52 GMC 2356
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ENTIRE SCALES
Practice in all the keys.
-41- -41-
Ww1
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SIXTHS ON ONE STRING
Primary Patterns:
irm rm 11
Groups of eight notes. PATTERNS: Bl, Bl, B4, BHRl, R2, R4, R8
Practice in all the keys. Here, too, three different ways are possible:
1) shifting one step while maintaining the stretch of a fifth:
2) maintaining throughout the stre tch of a sixth in the manner of tenths.
3) "creep ing" fingering.
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12
The Chromatic Scale
Groups of twelve notes. Use theA cce le ra tion E x e rc is e (page 5) in addition to
PATTERNS: Bl, B2, B3, B4, B6, B12Rl, R2, R3, R4, R6, Rl2
Primary Patterns:
* hi j r r n i n T n i i i
A l so s l u r two m easu r es .
IN ONE POSITION
# ; n* 1 1
*
iwr i 2 l
1 ~2
-i 7 4 3 , 2^ # |?*I -I".
i l : oi 41 2 i f * b"*-
-t t-
3 2 1 2 T
iI o .ll i " j(l li * I * - ? - t
K > * ' * ' 2 3 4
- p -
0rwr^r
W '1
exerc i se may be con t i nued into h i gher pos i t i on s .GMC 2356
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P ra ct ice a lso cm the D and A str in gs . All four fingerings may be applied to any string. Other
fingerings may be devised.
ON ONE STRING
1 1 & 1 * * ii
t ? * r >*>
a# . .T U p ,
Q.
2 ji 3- O -
3 , 3 2,2a . ba i 3 , 2 i . 4 3 2 i : k + : i t - \>j l X - i L i i L 4 3 , 2 t
o :
FOUR-OCTAVE SCALE
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The Whole-Tone Scale
13
ON ONE STRING
Groups of twelve notes. PATTERNS: Bl, Bl, B3, B4, B6, BllRl, R2, R3, R4, R6, R12
Primary Patterns:
\ j t j r h r n f n o j w h t h w u 11
A l so s l u r two m easu r es .
Play on al l fou r str ings .
G..V*
* * m---_ I 4~~ 3~
*"3 1 : 7 4 * b \>ml . H It - T * *
& .......... ---------------------........................................................................... 3 ...~ 1 'Hm " h 0 S ' * " ' ; * " >--------------------3 ---------------------------------------------------------------------------- ------------------- -----------------------------------------------
M ............ : ........> * q * q * ^ * 1 =
> q r ^ f f * 23 9 X 3
ACROSS THE STRINGS
Patterns as above.
D 1 , 3 2-e 3-
-4 -
3- tr-1.
3 4 1>* b#9-
$A 4 1
1---,---- *----- m--- * 4 i 3 , 2^ i4 - W ^ -3 a-
9 . # _ I 4 .=2----0------ g-- * ------CHF"
4 T
*
D D
-4---- 1-5?=
-4---- 1- 4 ------ 4- -4--- +-
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t#- S'#
t~! j i i| iw
^ . # # * = =A ? ^ , . j .
-------- 4 v 3 1 =3=
:\rr-fZ m
2
-3---------- 1---- ^
\rr +
*CD
b# \{
^ ? tt? i
r > :
^ 3
* * $ -
I 4# 2
if
# f|)0 M
- , : -
- - - - - - - - - - - - -,
o j>--i fj# L -
$
T ^ - g * g * m L- 1-------------------............ * ?# r * ^
*7%^ upp er accid en t a ls repr esen t a second v ers io n o f the sca l e.
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Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, B12Rl, R2, R3, R4, R6, R12
Primary Patterns:
i f n r n f i i j j j i?j m j m m j i s m m im n
A l so s l u r two m easu r e s ,
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i * * - ^ it . > - -fe
,= 4- o . 3 F
, (2)A
i i ^
E 8
^ = * j - 4
1 L 3
J = ^ b *A3
(2) A 3 :.y '
" F ^ "
*
A, ( 2 ) i \ > J
"? ' *4
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-
3 :gJfiB-
31 $ -#-
" W (3
i
J_ k i
i ~ 3e :
tK
-(3-
* W **h r fit i ^ ^ t . >
=i =f
A
h i l *i $ - # - a 3 \?j J - J
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$b
i L 2 L , E\}M- b'M- 2
- 3 --------1-------3------- 1-
b 4=^4
j j ~ 1f t _ . -
D , bi-tfc ii L . b* ~ t| ^
hr"
D
# , b# ij2 ...
E
-# ~t:
* , i =
$ y y
Groups of nine notes. PATTERNS: Bl, Bl, B'JRl, Rl, R'J
Primary Patterns;
? j t j m m ii
A l so s l u r two m easu r es .
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A , 3
1 \>M--0--77-
b l
b l
bl ,= bi
L ^ kb#- p j -0-
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Ivan GalamianFrederick Neumann
CONTEMPORARYVIOLIN TECHNIQUE
Volume OnePART 2
Bowing and Rhythm Patterns
Catalog No. 1.2356
GALAXY MUSIC CORPORATION
a divi sion of
(ECS)PUBLISHING
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n vi) 0 0 0
v n2) 0 0 0 0
ONE-NOTE BOWING PATTERNS Bl
TWO-NOTE BOWING PATTERNS B l
THREE-NOTE BOWING PATTERNS B3
1) 0 0 0 2 ) 0 0
0 0 0 0 0
0 0 0 0 0
3) 0 0 0 4) 0 0 0
0 0 0 0 0
0 0 0 0 0 0
g m c 2 35 6 Copyright 1966, by Galaxy Music Corporation, for all countries, P r in te d in u . s . a .
a division ofECS Publishing, Boston, Massachusetts.
3
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B4 FOUR-NOTE BOWING PATTERNS
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1 0 GMC 2356
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7) 8 )
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B l l TWELVE-NOTE BOWING PATTERNS
1) 0 0 0 0 0 0 0 0 0 0 0 0 2 )
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ONE-NOTE RHYTHM PATTERNS Rl
Every sequence of equal notes repres ents a one-note rhythm pattern, to be defined as therepetition of a single note, or of a note and a rest:
1)
IJ J
2) 3) 4)
All Primary Patterns in Part I belong to this category . Th ere is no need for fu rther examplesexcept for afterbeats and syncopations like these:
l) 2)
7 j j j j l l j> in ? n
3)
-j ? | | I u r 1"^ | -j k0 0\-0 I m-I0 0 -w m m
4) 5) 6) 7)
7 J r / X - J J II7 J> 7 J> II 7 7 JT "! Hi ? / T T p
8) 9) 10)
?J) ? j! j! II ?J* v y i i II i- J* J* */ J1
GMC 2356 2
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1) 2) 3) 4)____________ 5) 6)
*>i d ) n ii>777 ? *> i n iie I e ? i i n ii
jR.2 TWO-NO TE RHYTHM PATTERNS
7) 8) 9) 10)
77 ii H 7 ii n ii n .
1) 2) 3) 4) 5) 2 against 3
b) i j_ .f i i j ?i> ii n j ii ? in j jJ f ^ L T f
1) 2) 3) 4)
c) g J. J II J J. II J J>II J>J
5) 6) 7) 8)
I J J. II J. J II J-J> J II J JU II
9) 10) 11) 12)
I J Jl II J. > II J> J II J J-
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R 4 FOUR-NOTE RHYTHM PATTERNS
1) 2) 3) 4) 5) 6 ) 7)
) iJT731srnii rmii rm ii r m nj m ii rimii8) 9) 10) 11) 12) 13) 14)
I3 j j 3 j } r3~)
rm.iii(t) rmii rmii rmii rm . nrm iirm15) 16) 17) 18) 19)
J II JrH'dJ III J. ] J J II J J J. J II J J ?] J
20) 21 ) 22) 23) 24) 25)
rmiirm. nrm11rm nrm.. 11rm1) 2) 3) 4)
wi r3Xrn iir~i-m11ns~n11n _ m5) 6) 7)
r m r m i ?m n y j 1n ru u ^ 11r i m j m
8) 9) 10) 11) 12)
j n j n - j ii J- 5 7 7 7 ii X T J L s ii >j . r m ii r n
13) 14) 15) 4 against 3
j 7j> ii j _ r 3 - r 3 . j in j j j j
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1) 2) 3) 4) 5) ( K 4 )
j n i i ' r r n j J r r n s j i j j t j ii j i j n
6) 7)
I j t t j ii j m
8) 9) 10) 11) 12)
2J JIJ J IIJ J ii>J II J. ; JT3 J II J i m II J J7TJ J
13) 14)
ii M n \j. i j.15)
i . , k ,, 3 + 2 + 3 , . i . ,
J. i J J> II 8 J. : n : J.
FIVE-NOTE RHYTHM PATTERNS R5
1) 2 ) 3) 4) 5)
) j j j j j ii r r m ii rrr~n ii m n ii r r m
6) 7) 8)
n m w r h n
9) 10) 11) 12 ) 13)
i(i) r r a i i m ii f r j j t j i i m n n n m
14) 15) 16)
r h n ii n f f i ii J r n nGMC 2356 25
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(Ri) i) 2)________________ , 3)
w 3 , ? i m m n n 11
4) 5) 6) 7) 5against 2
j%j i . n ii r \ n ^ r n njr u r \ n m r r r n
r r i ft r r
1) 2) 3) 4) 5) 6)
c> r m ii r r m nn m 11 n \ n m \ n> > > >
7) 8)
n m ii jrr3 m i
9)
2> n
10) i d
m iir,R i n 11j12)
/nin
13) 14) 15) 16)
m j J- 3 II h .H II 7 ! J f S II n ! II GM C 2 3 56
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R 6) i) 2) ____________
b>i ? ii> x m JT3 'j l l t 73 m i
3) 4) 5)
I iijn-ri-rnnfrir:im6) 7) 8)
4 n ^ n .n n ii n .- n n ~ m ii r y ~ r n s ~ n
9) 10)
n n n ~ n n
1) 2) 3) 4)
c>i j y r m iinrmnmmrmn5) 6) 7) 8)
r r r m m m nm m ii r m n
9) 10) 11) 12)
n r m j . r a j ii e j ^ j ii n j r n
13) 14) 15) 1 6 )
i j ii m u j~j ii j>j J>jm ii j * \ r m
17) 18) 19) ,---------------------------------------- 1
m i j n ii j n i m ii i m \m a j m
20) 21) 22)
2 + 3 + 3 i i i k * i k i i i i k * r " T i i i 3 + 2 _ + _ 3
8
23) 24)
m \ n \ in \ m
28 GMC 2356
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SEVEN-NOTE RHYTHM PATTERNS R 7
1) 2) 3) 4) 5)
>f /7JOTII jm JT J II JT3 OT IIJT3OTII OTJOTI
6) 7)
r n r m ii / r a . m iij j o t j ii /j o t j ii
10) 11) 12) 13) 14)
JSJ J53II O T/T31171OTII O T r S II jTJ J=T5S1II
15) 16) 17) 18) 19) 20)
r 3 ~i r 3~i r 3~i r 3~i i~ 3 ~i r 3~i _______________
1J .ffijjJ IIJ7JJ JjJ IIJ j j jj jJ II J JJJJJd II JJJJJJj IIJ5E J J5
1 ) 2 )
>>i ; = m i > i 4 L /t t j m 4 t r
3) 4) 5)
m /n n ii r r m n ii/rrrrn6) 7)
8) 7 again st 2 9) 7 against 37 7
24
i i i i i i i i i i i i i ij j j j j j j ii i j .....j ...j j j j ji i i i i i i i i i i i i i
"J \ I I I * 1"* I I I /"J \ I I I'f-'N I I |
r r r srir r r r r j -t r r e r r
GMC 2356 2 9
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(R7) 1) 2) 3) 4)
oim rmirm miirm mnrm m
5) 6) 7) 8)
m r m nm r m nm j > / n i l n / r r s
9) 10) 11) 12 )
j ii m r r ii ii r r r r m ii
13) 14) 15) 16)
i r m m nm r m \n m n ii r m m n
17) 18) 19)
m rm wnmmi}xrm m?ju
20) 21 ) 22) 23)
^ n ;j j M m j i m m i m j i m u m j j>ij j>ii
24) 25) 26)
3 + 2 + 3P H l i J i m i J I J n i J i J f t
5 0 GMC 2356
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EIGHT-NOTE RHYTHM PATTERNS R 8
1) 2) 3)
>I FT H FT FF II /3fT3 FTTT II FTTJ FT1F
4) 5) 6)
rmrm nrm rra irra rm7) 8) 9)
rm rm n/ra rm 11rm r a10) 11) 12) 13)
r m m i . i r m . r m nn r . i m un m n r .
14) 15) 16)
j j n n J j II r a n j j n II FTT1 j n j
17) 18) 19)
m ii r m / m . nm r a n
2 0 ) 2 1 ) 2 2 )
rmran njm ran nran nm i23) 24) 25) 26)
i r B f m ii m n S n r a m i r m m
27) 28) 29) 30) 31)
D fUJffCJ IIJ JJJ Jiid II}fti IT)II J71 J33SIIJSS/TJG M C 2 3 5 6 3 2
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Rs) 1 ) 2 )
>)31 'j n r m 17 ?j /3 i} ii 74 = /^ - *^ 3 ii
3)r r m j r ii ' r u m / m m . r a m
n m T R - F m II /T T /T 3 /T3 II
i ! n j ~ x n . r a ii W m n r m n
') s r~3 j j j j j j ii / m ii 'rm r r m
" r r a n ii j n j . j j. dj. j ii j f m r r r
7) 8) 9)
J J J J JJJJII J! 3 JJJJJ! 3 II J JJJJ X 3 3
10) 11) 12)
ir m iirrrr^ m ir m rro13) 14) 15)
rmrm ii/rm mnjttj m /316) 17) 18)
gv*nm mnn m m nmj J>m> > >
19) 20) 21 )
af a j t j r3 m nm n j t t j nr m j j t j> > > 3 2 GMC 2356
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fc-ro
ooco
NINE-NOTE RHYTHM PATTERNS R 9
1) 2) 3)
4) 5) 6)
m j n m ii j n n j m ii jo j m m
7) 8) 9)
m JT} m I IJT3JT3JT3I IJJ3j t j :j J J II
10) 11) 12)
j j / j j j j n u n n i s m nr m n s i i
13) 14) 15)
J JJJ J II JJJJ J II j J
16) 17) 18)
r r i m m ii m m r t i nn m n m
19) 20) 21)
r r m r m nr~ j m m nr m m nG M C 2 3 5 6 3 3
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R 9 ) 1) 2) 3)
>)m sn mim mmiim m m> > > > > > >
rnmmiim mm wm mm7) 8>r
t r m . n r m nx l r i m . m m m jw
1) 2) 3) 4 ) _______ _______________
o i n tF rm t\ m m m nm m m ii r a f f r m n
Fimfmt. Ft. i nj. j j. j j j. j j.iii j j j j j ii j j j j j j j j j ii
9) 10) 11)
i rsmrm ii j j j j j j mii j j j j" jim12) 13) 14)
FFFTt rm IIJ J. dJ. dJ m IIJ.JJJJJ JTT315) 16) 17)
2+3J n \ m \ m t ii m \ m \ m ii r t\ m \ m8
18) 19)
r n i r n i r n u i r n i f f n i
20) 21) 22)
3 + 2 + 3 m \ m \ m \ m \ n \ n T ] ii m \ n .\ m
23) 24)
m i r n i j~3 j j ii j. m i r n \m
24 GMC 2356
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1) 2) 3)
>2 n n j j j j j j j j i jm j t j t jj t s ii j t j t t3j t s j t4) 5) 6 )
n fh sfj i if i n jm rh ii m jf i rh n7) 8 ) 9)
j t j t t j t j iij j t j t t /t o t ii/j o t j t j j t j
10) 11) 12)
j nfmfhn iij m m m m m m i j t j t13) 14) 15)
j j t o t j o t i i j o t o t j t j ii j j o t j t m16) 17) 18)
j j w n H77 ii j jt t t j t t /3tt nj t t /sr j j t j t19) 2 0 ) 2 1 )
J JTJ JTJ JTSTIIJTTT3 r n J JTJIIJTJ/OTJ JTJ22) 23) 24)
j jt jJS53SJ iij mmv rhwmmj rhj
25) 26) 27)
JT J JT J3O T IJ J3OT JT JT II JT J3OT JT JG M C 2 3 5 6 2 5
TWELVE-NOTE RHYTHM PATTERNS Rl2
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ro
1 2 ) 28) 29) 30)
J J J JJJJJJJJJ ii j j j j j j j j j r n ii jjj j 'j t j
31) 32) 33)
JJJJJII JJJJJJ
34) 35)
j j j j j j j j j j j j l JJJJj j j j l j j J I36) 37) 38)
2 j-j mm ii nm n mm nmmnm n n39) 40) 41)n ii n r t t i J i f m i / f f 3 /r r t t j f j i i
42) 43) 44)
J J J J J J J JJim II J J J J J J J J J JII J J J J J J J J J J
45) 46) 47)
/f f l J"J"J J II J JT] II J .s3=r3.^ =: J"T1
48) 49) 50)
j- ] i j ? j s r 3 n f f i 1151) 52) 53)
r h j j f l j f f f } ii i r f a f f f i r h nj w r i i n b i n
5 4 ) 55) 56)
.T f e T n .m i i J i m m f m iij r m n m r t w
57> 58) 59)
j j j j j j i j FTTt ii r m j j j j Im n/ m j j j j j j j j iiGMC 2356
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Ivan GalamianFrederick Neumann
Volume Two
DOUBLE AND MULTIPLE STOPS in Scale and Arpeggio Exercises
Catalog No. 1.2562
GALAXY MUSIC CORPORATIONa division of
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Contents
PART ONE: SCALES
I. THIRDS
A. Diatonic Consecutive Th irds ................................................................................................................ 2B. Thirds in Disjunct Motion ....................... 3
C. Chromatic Minor Thirds ....... 4
D. Chromatic Major Th ird s ....................................................................................................................... 5
E. Whole Tone Sc ales ................................................................................................................................. 5
F. Alternating Thirds with Open Strings..................................................... 6
G. Extensions............................. 6
n . SIXTHSA. Diatonic Consecutive S ix th s ................................................................................................................ 7
B. Sixths in Disjunct Motion .............................................................................. 11
C. Chromatic Minor and Major S ix th s ................................................................................................... 12
D. Whole Tone Scales .............................................................................................................................. 13
E. Alternating Sixths with Open Strin gs .................................................................................................13
HI. OCTAVES
A. Diatonic Consecutive Oc tav es .............................................................................................................. 14
B. Octaves in Disjunct M otion .......................................... 15
C. Chromatic Oc taves ........................................................................... 16
D. Whole Tone Scales ................................................................................................................................ 17
E. Alternating Octaves with Open Strings ...................................................................... *17
F. Extensions............................... 17
IV. TENTHSA. Diatonic Consecutive Tenths ................................................................ 18
B. Tenths in Disjunct Motion ............................................................................................................ 18
C. Chromatic Minor and Major Tenth s .......................................................................................... 19
D. Tenths and Octaves Combin ed................................................................................................ 19
V. FOURTHSA. Diatonic Consecutive Fo ur th s.............................................................................................................. 20
B. Fourths in Disjunct Motion.....................................................................................................................20
C. Chromatic Fo ur ths ........................... 21
VI. FIFTHSA. Diatonic Consecutive Fifths ................................................... 22
B. Chromatic Fifth s .......................................................................................................................22
VH. UNISONS
A. Consecutive Unisons....................... 23
B. Disjunct Unisons ......................................................................... 23
VHI. SEVENTHS
A. Diatonic Consecutive Sevenths..............................................................................................................
23B. Sevenths in Disjunct M otion .................................................................................................................. 23
IX . DOUB LE HARMONICS
A. Scales in Thirds ........................................................................................... 24
X. TRIPL E STOPSA. Diatonic Triple Stops in Consecutive Motion......................................................................................25
B. Diatonic Triple Stops in Disjunct Motion............................................ 26
M
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PART TWO: ARPEGGIOS
I. OCTAVES (Parallel and Fingered)A. Major, Minor and Diminished Triads ...............................................................................................28
B. Augmented T ri ad s .............................................................. 30C. Diminished Sevenths ..............................................................................................................................30
D. Dominant Sevenths and Inversions......................................................................................................30
H. VARIOUS INTERVALS
A. Triads in Sixths and Fifths............................................................................................ 32
B. Triads in Thirds and Fou rths .................................................................................................................33
C. Triads with Passing Tones in Various Intervals................................................................................35
D. Augmented Triads in S ix th s ................................................................................................................. 37
E. Diminished Sevenths in Various In terv als........................................................................................ 37
F. Dominant Sevenths in Sixths and Sevenths ......................................................................................38
III. TRIPLE STOPS
A. Major Triads............................................................. 39B. Diminished Seventh s..............................................................................................................................40
C. Fourth Chords ...........................................................................................................................................40
IV. QUADRUPLE STOPS
A. Major Triads..................................................................................................................................... . . . . 4 1
B. Diminished Seventh s............................................................................................................................. 41
nM?
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Preface
The second volume of Contemporary Violin Technique deals with double and multiple stops by way of scale and
arpeggio exercises. Together, the two volumes are intended to serve as efficient tools for building a technique to master the
violin repertoire of the past and present.
In the first (scale) part of this volume, most exercises are written in C but contain the note Practice in all keys. In many exercises, where crucial technical problems are at stake (such as scales in thirds, sixths, octaves, etc.) it is important to
follow this instruction conscientiously. In other exercises, though, a smaller number of keys might meet an individuals need.
However, those who want to get the maximum benefit from this book are warned against limiting themselves to the written key alone. By so doing they will severely handicap a balanced growth of their technique.
Where alternate fingerings are given, above and below the notes, care must be taken not to interchange them. Both
should be practiced and new ones may be devised.
As in the first volume, the notes are printed as unstemmed heads to facilitate the use of bowing and rhythm variants.
Double stops, by their nature, require fewer bowing and rhythm patterns than do the single stop exercises of the first
volume. However, the introduction of a few patterns is highly beneficial, once the exercise is mastered in its simplest form. The
patterns add a new dimension of technical challenge and besides minimize the danger of mechanical, unthinking repetition,
which is the chief cause of wasteful and inefficient practice habits.
The exercises are arranged in groups of either 6, 8, 9, or 12 notes. In order to avoid needless repetition within the text,
the basic Bowing (B) and Rhythm (R) patterns for each of these categories are listed here:
Groups of 6 notes:
B f ] n J i w f f t f J t ii
Hu /]. iintwm m i m u
Groups of 8 notes:
bn r ) r n iim n m rm j f f l nbrin /]. iin h urn iirm .nj m n
Groups of 9 notes:
bfp f n n )\\m m m m m m h
b m i i m m i i J T i i i m m m h
Groups of 12 notes:
bfn ] J ) JjLii m m m m fn m n r m %
n j) r n ) r m u m r j j j j j j j i i
Bm n ^ i i n i i / ] .i i m A ] i i m m u
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Table of Symbols
Symbol Def in i t ion
I, II, III, etc. 1st, 2nd, 3rd Position, etc.
D A E Designation of strings;
G D A a single letter stands for the upper string.
D ' Stay on the same strings.
G ,
1 ------------------------------------ Continue with the same finger(s).
11 |1__ ..... ..............1
Keep the finger(s) down.
or 1 .......H
h - Reach up.
- HReach down.
vi
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I. THIRDS
A. Diatonic Consecutive ThirdsGroups of 12 notes ( See pre face about bowi ngs and rhy t hm s.)
Pract ice in al l major and minor keys. *
Da) G
1 : i t * f t-4--------- 4 -
*1rfr*t i t i t i f
> ( ! (
i II t * * * * * t l
b)DG
AD
AD
DG D
DG
a}
| f i t **; i f i t * ** * * * * |(E,d )
AD DG AD EA AD
EA
EA AD
it t t
D)'E>
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F. Alternating Thirds With Open StringsGroups of 8 notes
Fou r di f ferent f i nger i ngs are giv en. Each may be appl i ed to the whole exerc ise.
Pr ac t i ce in C, F, G and D m ajor and their relat iv e harmonic minor s.
I/F
only- 4 F
D only
only2
0 4
j) only
24 24
2 1 "=Tar 4 * 8 m. Amgv-
G.ExtensionsGroups of 6 notes
1 2 l_
3 4 j
1 23 4
1 2 1 3 4J
$ . ut jf i t
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II. SIXTHS7
A. Diatonic Consecutive SixthsGroups of 12 notesPr ac t ice in a l l k eys .
$
5 only 3 2 3 2 |2 1 -1 - 2 3
3 2-24-
-24-
* #"2 2 1 2 AD
32DG
32DG
| p l(8)
2 2
1 ~ji0
33
o
g * 2
4 * 4
2 2?# 1 ^ g-
TT- ~ -ErAD
DG
AD
EA
AD
AD
Pr ac t ice the preced i ng exerc ise a lso wi th t he fo l low ing f i nger i ngs :
D only
' i-3---- 3-
~9---^| s e g u e2 2
f 1 s e g u e
4-3 -
m * ~ar
4 43 3
s e g u e \ 1 s e g u e
C M C 1
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Groups of 9 notes
Pr ac t i ce in a l l keys.
AD
8
I I / A
12
AD3
DG
Q , . 2 - 1r=------m.# - ...... ^ -----gp v... .....
~m 'm._ o w m I * # , 2 .... i ~JL ----1 i m 0 9 - m 0 -js m .............. 0 m * m-A...4 ......... 9W .....* .. 2 f \--------- 2 ---------' 3 ............ *-----
----- ^ ----- 2: #----- 4----- 9 9 m - ^
3 1 AD
EA
AD D
G
AD
EA2
AD3
DG
- 9 i i a .... i * ....^ ...I~~m 0 m ... - - m --#ip-----------------* --# --jp
0 ...* ..* ... ...# ------------j p-fin a 4 , - _ ------------------ 2 ------------------- 0 - 9 ---------- 1
L - 2----------i----------2 --------- 1 ..4...4 ..3-------y------ 4----- ------4--------- T * ^
1
AD
AD2
2 3 1
EA21
E
A
A
D
AD3
- f --------------4- # w ~ ^ 0 * .0 ------------- m.. m..0 - 7" JP Ai m ----- r 9 - # m0 i x ^ I --- -----------a ---------------- --- 4-4- 4------------ 4 ----- ------? * ..+
up* 0- J L
JEKl ,^ Z Z _ J i5 4 ------ is----- 33-3 -4 --------- 3------
----- 4--------- # 0 -4 2
3i1)
1EA
3AD
Al though the above fi nger in gs ar e usable for al l the keys, other f inger ings are better adapted
to the needs of any specif i c key because they avoid the obli que movement o f fi ngers f rom one
str in g to the next and thereby r esul t in a cl earer art i culat io n. The pr i nc ip l e is demonst rat ed
in t he fol low i ng th ree maj or and t hr ee minor keys and may be appli ed i n analogy to al l o t hers.
2 4 2
21
JBl
43 4
3-0-
43
-434-==*:
AD
EA (!)
AD
4 2-3-1-
i43 4 2 1i i \
( 3V20 2 2. )
-42-3 1
9 mi
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9
I I / A
A J Iminor ^ J?M
2 < f 8
4 2 43 1 3
jp #
(!)
GA/C. 7 .2 5 ^
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11I I / a
4 2
4 23 1
2 81 ,
Cminors
2 4 ? 4 2 4
J M _____* 2) .EJiZ.
_ k ------------ b^ ^ # . a .* .-4 -a _ -------- .---- --------1 + - * -----
L-E--------------------------------- 11.*. M "o * * "0
---- 3-------- * 0 Z 0 = J
D P2\VI/
4 2
ifc
4 2 4 23 1
4 8 -3 A
2 3 13 ^ j
i. m.M, .. -.... .... ..(P 1 4F.^ i__
43 4 2 A
u3 l gi r - #
3 2 4I 3
% a ;
(!)
2 4 f J
, 2 82 4 |
2 1 3 1 4 2i _ 00 +1r 3 1 - I 9 r = j .I t^ # * ---- -1-------0"0"\
" " ' 12 4
i 2 4 I 3
_. \ :0
4 o a-*4. 3 1 3 2 4 2
# ' jpj~ - -m..rn m m
f 1^ ^
---- ----- ; P* jb.^ 4P_____ # o m L ^ J J
D
B. Sixths in Disjunct MotionGroups of 8 notes
Pr ac t i ce in a l l keys.2 2
8
2
y i i 1 ^ 1 # * # -M..~ m 0 m ~ |"tfe-------- m 0 0 m'9 0 .-
: M ,, 0 9 9 m m -*O 9 0 _ J r . . ........
D
(8)
1 5
" 1 4
i k. 43 43
$
43
M=L
43
43
: * = * = --ii #
AD
DG
43
3E
43
43
43 4
3
AD
EA
(8) n 2l
y ............. * ^ ................ .. . .........0 .. 0 " 0.."M 0 r - * ..................................1 - #-ir - - - W - 4 ..# .... 1 \ .,X ------- 0 -9 - ----------------------- 1
ino H# * j g I - \\ * It* [IF-V jf51(5)*
E oA 3
f |y*-
* ^ |[* i f e f t
F s f t
2 134 3 4
f t s i n f r EA
2-4 -
-JL.
fl ,J>
i h......, 4 ........ 3 .... 4 ........
1 L i 13 4 3 2 1 2 1 2
X ---- rn* bi h-1..f/S u * ------iJ?* 4 3 -------------- - r T m 4 3--- =------ fc=4
----- ---------- ----------------------------- s:----n-s:----- t -m ----- \ J~m------------1 - f w ......... --------m , I Z J g -------- # j e = _ :
D
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22
VI. FIFTHS
A. Diatonic Consecutive FifthsGroups of 8 notes
2 3
- H i i f o 0 1 2 _ m~^ ^ j p ------------- 1 ........... # _ . 1 0 3.... a_::
- / K r H ..I ----S------------2k Sf " 0 m w .............. ................. * m..g ...* ^ 1 ...
......# " # ' -------M0 m m ^ ,m .
...... ........... # 9 _
B. Chromatic FifthsGroups of 12 notesD 1 2 1 segue
-2-
22 2 \ segue
1-4--4 2-
.s e g u e
ipg ^ p#
2 3 1 2 3 { | J 1 J I | i 1 , 3 i { ! 2 1
ill: Til? ^ f t" -4 3 2 2 =3 s e g u e 3 2 2 s e g u e
3 23 , 2 ,b#
Ly..j P| " i l l1 2 2 2 ^
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VII. UNISONS23
A. Diatonic Consecutive UnisonsGroups of 12 notes
Pract ice in several keys.
-G ------- l-----1segue----------..................
1 s!!
1U0 m w ^& j . ~ ~ " " --------------------- E--------------------- ----------------------- ------- A-----
DG D
B. Unisons in Disjunct MotionGroups of 12 notes
Pract ice in several keys.] 1 segueA _4 _ -M i
1
VIII. SEVENTHS
A.Diatonic Consecutive SeventhsGroups of 8 notes
Pr ac t i ce in severa l keys.
AD3
EA31
i 8 '- - -| 4
i 4 * A1 2 l f r42 42
~S------- 2 1 . ;-V--------------- . 0 0 ........ .. , T " #
m i... m . ...~ . * O------- 5------- # 4 A .. ....-ho O t>3 ..... * ........9 M o 4 4' ? i o j w * m A4 a w 9 ^ __
4 32 1
2 1AD
1EA
2AD
B. Sevenths in Disjunct MotionGroups of 8 notes4 4 4 4 3 94 4 Q 9 1 Z
42
A
42
42
AD
EA
t
s 3
i i i j . i - i_ j * . 3 : 3 segue
AD D
G
GAfC. Z.25&2
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26
X / A
3 segue EI t H t * *
* T s-
* 13 segue4
EAD
4 If ^ i 4 4 l i t ! f \
segue4 4* 77ie two fi ngeri ngs may be m i xed: use the 2nd fi n ger w hen the maj or t hird, the 3rd f i n ger
when the minor third is on top.
12 segue
_3______,
EA
AD
-j? m -*r t ^ -g- - j- #
11W 0 -
=#=*=
34
EAD
ADG
B. In Disjunct MotionGroups of 12 notes
Prac t ice in a l l keys .AD , 4
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Part Two
ARPEGGIOS
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I. OCTAVES(Parallel and Fingered)
Major, Minor and Diminished TriadsGroups of 12 notes
N ot e: In the upper f i nger i ng of thi s exerc i se as w el l as in al l o f the par al le l - octave exerc i ses,
the th i r d f i nger may be subst i tu t ed fo r the four th .
E segue
4 10 2 4 0
segueE 2
0. segue
4 , 4 a # 0 o 4 : 4 6 w I \ T 4 ^ 4 o #
f i l ? 1 ? ? " j i f 1 * ' t J V ' * 3 2? r ' iz * n i
AD \2
w4
!usegue .4 f |Ap*----- #-z k :
8 1 - 2-f~T
2 M 4 Tw f i i I EA
U T fU ffo 3 I 1 AJ 1 D
1 2 E T?TI T f i 2 2 i 3 f - w1 2 3
i
4 A
2 ,1 A 2 . 0
m %m4 3 4 -
- 3 -
W ^ T
-8 -# -8
'2 * '1
-3- - 1 Jf>0 ^T 4 i
3 v1 4 If-
2 3
M I f ^
2?1 1 4 ,
2 3 3 1 2
\ >+
\ l e1 V J L - 3 C Z Z :
3= * =w 2 : 3 7 #' 1 ! 3 8 . 3
1 1 4 -#, 3f 12
1 1 42 ? 4 1 12 * *
$
A
< 4.
E
& ar 12
0 m * _ 4 . ^ ^ --------------- n---- o 45 43-*
, 2 1 2 I 8 i f 3 1 2 3 1 34 1 1 1 1 4 f -p ^ ? TT4 1 1 1 l3 j 21 1
4 72 3
* Fo r /us and JAe ot her minor arpeggios t he fo l lo w in g a l te rna t i ve low er f inger i ngs may be app l ied:
8 8"
, y...3...1 3 * 8 ?1 1 i 1 3 1 1 1 1 20 1
A2 L J 2 2A
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8 '
1h i
'Ml-4-#-
3 # nf ~ i " ? # * T I S ^ * 3 * 4 ! j= f = ^ > } I a 1 f A 4 ( ! ? * } I i I 2 1 * * 1 *
D 1 D
9+
t
0 3 o ^ 31 1 1AD
M A 2 fD 1
rfe
A E 8 1 ALd -#- I -#- -0-D
m VJL mPAZZjB. m M.
5* -#- 4 #"^ 2 3i r M i n 3 ' 2 1 f 2 1 ? A 5 ? 3 5 1 ? 2 * ? ? A 2 51 1 D 1 1 1 1 D 1 1 1 1 D 1
3 3 2 1 3
41
2 20
8
= f = i-4----- 3-1 1 A
DA 2D
L i ' l ) I i 11 i i ' U i 1, ' i i i T; i ? t 'If1 D 1 D 1
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30
B. Augmented TriadsGroups of 12 notes
I/ B
C.Diminished SeventhsGroups of 9 notesA41
ZM Z
tat
r t ? X------;---- -75---- Tt-Jj--90-h r f a ? h r
* r
20
31
A
1E
k = kT i f #
* |,# h r - * 1. -* T tt3 r-f- 3 5 1 i
1-T 3 3 1 14 1 1 E 2 ' fA 1
D
1E
\>_
T m I l r f1 2 f "* * -* tar It*- T * i
A 1 2 f ? 1 2 A t W |D n 1 1E
Z>.Dominant Sevenths and InversionsGroups of 12 notes
D only
2 4 -+4 segue segue
4 4 k1 1 - f
1* I?# ? 4 mm .1
4 i 2 " 2 i 4 3- * / l ? 9. 1 9 2 J
' # J|
M i * i J } t ^ F f 713
, 3 S 1 2 1 4 3
t f i 1 20 1
5 f2 1 4
1 2
V ^
n n t ** '
t>* " i
*ffn3 *
3l 2
CMC. 1.25ft2
f~ r .2 2 2 ? 41 2 f 4 I 1
M l t1 1
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I /D
= 2 3
31
r f2 1
mr f? . , : i lT . * 74ajT-> in* Llt- f T4*?^i
* IT MtT * *?T rf#! * 5 * 2 '2 1
=*^0=
f r ' 5ft
1 2
1 22 1* 4 o1 2 3Z i
3 4- 0 It-
f e0 ay-#!
W2 5 1-^^r' fc#-*3 -0- a 4
tf2 1 3 4 *2 J 4 31 2 ? 2
0
\>J8'
=^0=* -40 - - 0 - 4 - 3 443- -34 - =4=4--23- -23- -32- -2--- 14- 4 1 32 1 1 2 1 2 1 1
5 i 4 3 0-2-44-
=5=4*=#=
8
4 3-41- Tt j fI ft42 432 1 2 3
4 * 0 42 t 3 &-
3=+=1 2
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II. VARIOUS INTERVALS
A. Triads in Sixths and Fifths
Groups of 12 notes
m# -20-
I t p1
E3
# #..
* ^ '" r
E4
0 2
. 4 A
1Kgy.z zg: # *
.- # ^ #-
4 A
i -#-2 1 D.,. i-feSi # 2 4
i)
A 23 g m m
P(J T ~ r2 4
3)
,i4/2
2 D
# IZJE I m ' mm==mz 0 0 "=2=
200 0
T*&m _ mr.
r*{\ c? T T ~r i r
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34
A
~~z:- 0 - 3 -
Io|b 5
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n /cC. Triads with Passing Tones in Various Intervals
Groups of 8 notes
12
E43
35
0_- - - - - - - - -. . : . . . i : - * : ^ z i , r ^ - T T -
i ^ ^ S l ; # . S. t * . * . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . # # H $ : S = - 1 h # g J
f=p m m.... g T~ji 11 .......# j j S-o
E
2 (u
E4
b f t l d z i
=**
E
k# S # m l H
f
AD
1-2 - frar t t
i1 1 12 k#~*. 2
a ., 1
E4
k - 01 __^ _-K -____ |/g J
4
t*P S P S
=*= / 1 >
2 k#J& 5.5 kA2
- 4 -1 2Hi
1 2^ < i , f , ....~|... .. - f r y ^
A
5=*:PSyJKL 0*___ _JZM p# 1CT> 8
I l l feiak k y ~ f
AD24
iezz~zzac S E v~*~M j f e i
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n /c
36
f t p*
^*1F f l
E1
4 n 2
i
43
JL -f-A =#i*=
A 1 5 ^ 2
I i ' r ; ^ a# . |
i \
\ t * * *tt L ^ ..-. M --------- r
2
t - q
s t y * ' - ( i> "~I K
5 * * 5 *
0 4 3 2 ^ # - -* - lt * ^ J . 0J 3 m \w m n , 1 ---------- ^ * T l -gT
0 ............... .. ~
3 21 1
.."W"'# 't J|..'#..*- -...
: .............. : j J
2 EA - I 3
-0-_l 2 ------------ ., g . m -------
m * C At m 'a r - F r t l # t 4 -------------------- 3 g - - g _
i ? ^ # ( T ~ 1 ^
2 _#. -i- i 3
.....................
1 1
2 M ..
------- o 0 i $ ~m ^ ~
-------------------------------------^_ J
- + T T * 1 ____,........ . #. ..%.-m0--------
9 ? * " 13f I * * = J
1,1' * ~~-------------------------------- 0 i
1 2J * i
J j - ------------ m * m *
2
^ ^ - f * 1-------------- m m ^
> 2
i < m #----------
24
< .... i . . . _
-...... ... ^ 7m ^ M
* ry
f i f ; * ( r r : * m f m.... # ^_L--------------
.....
i/v A C M................. ......................# ..
1WPJ L
G3/C. J.25
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38
n / FF. Dominant Sevenths in Sixths and Sevenths
Groups of 9 notes
1 3
2
3 .A4 23 1
f
4
3 4 23 i
-0------------0- 0-
4 2
* A
o 2 # * -| 0 * w
(0-+-m-
a , t j
> 0 0 * 12 4
4 - T - 3 -
(?)i: i 0 p
l
4 23 1
3 12 0 4
0- m %1 3 E0 2 il
3*L * -
-
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III. TRIPLE STOPS39
A. Major TriadsGroups of 12 notes
Sample bowing patterns:
m
211
E221
.JL.
2
11
2
21
2
11
m mz
221
_#L
22
-4-
321
E211
2 3
i i
21
321
110
21
2 1 1 I 1l ^
211
iU'7 * * # * * # * m -m- Jm- -JK. I4 * m .--m*.m...2
321
-m -
221
211
8 3 2
2 2 1 22 1 1 2
1 ~ * - 1
n221
211
321
221
....# -m # -
2 22
1 1-- * . 1 ! 2I i * * : # : * ! !
2 22 2 1 ^ . 1 } 2 2? 1 1 2
432
:*=
3 2 1 2 32 2 1 3 1 2 2 2
y
3 p 2 ; 3
2 i l ^ i . 1 ? 2
. . *
2 421 11
3
1 1 2
42 2
? ? ! 1
I i i 1 * - L 1 00.0 0
* 5*
/. 2 5 ( ? 2
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4 0
I I I / B
B. Diminished SeventhsGroups of 8 notes
(Bow in g patt erns as above)
321
segue
8'
IZA.
210
432
f t
8 '
j t a b#-
i 31 20 1
0
8*
3 d
2 3 o1 2 0
E432
( 8 7
t"5#- 4*=^
C. Fourth ChordsGroups of 8 notes
(Bow ing patt erns as above)
E1 segue
2 M.3 0 i# ~y ~a_- 3 "In
\ >0-I 0M. JE P0- -0 0 -
J> M-. \1^4^J g* 1 m mz.uD ' 0 - 0-0 0-
-00
2 3 segue3 i4 E
* * -----------2-0 - 2 o
segue w34
*
L fe*.L P#-kzzz
#0----------- 0-m
a"WFUM l #0-
9------
34
m....mz
T t t34
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41
IV. QUADRUPLE STOPSA. Major Triads
Groups of 6 notes
Sample bowing patterns:
fn* H T ^ ~ f l t , l f y * -W * ? , !. K* ^ y
; t ; ; */--* - - ::n - - .* - i' - ^j^Y 7 T TT f ? 7 7 ffg*T 7 ~ 7 * T ' T I
3. |it4 1 3 L3 1 3I K*. _ j* .
3 L 3 kj L 3 o
, " b * _ _ W L
, |3 1 33 b#- 3
^ ,b it . ~ j ~ a k * . 2 :
o 3 33 J t ~ Z. M . 3
:Kmz 9+-
T 1
B. Diminished SeventhsGroups of 8 notes(Bow i ng pat t erns as above)
seguet
m + z : l jj tmU r T F
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