Академический Документы
Профессиональный Документы
Культура Документы
Oct
MAR 10
1936
JUL 12
193/
73///
AG 24'46
http://www.archive.org/details/schoolofintonati256sevc
On an Harmonic
for
Basis
iolifi
in XIV PARTS
*r
by-
^H
Ot
y^U
Contents of
ELEMENTARY STUDIES
FROM THE 2nd TO THE 7th POSITION
PART Gb
,
Book
II.
PART V
INTRODUCTION TO THE
to 7th). Placing the
Diatonic Succes-
VIb
The
Semi-tone
and
b E, ,
Tritone in
POSITIONS (2nd
Fingers
sion
Db
B and
on one
String.
of Five Tones.
Passing
String.
Exercises.
from one
of
Inter-
String to another.
vals relative to
Intonation
an Open
Exercises
PART
Eb
,
VI':
The
Semi-tone
and
Tritone
,
in
Bb D and
for Interpretation,
Exercises.
and Bowing.
HARMS,
62
Incorporated
o*
J.td.,
Copyright, 1922, by
Harms
Inc.
I^AXT
PART
V.
ABTEILUNG V.
Einfuhrung" in die 2.,3.,<J.,5.,6. und 7. Lage.
Inhalt.
PARTIE
2e,3 me,4 me 5 me G^e
, ,
V.
Aufsetzen der Finger nach der Reihe auf einer Saite, mit Ruhepausen fiir den rechten Arm, in tion. Diatonic succession of five tones der 2^%4^5.fi. und 7. Lage. Diatoto be played from memory and the tones m's che Fotge vonfunfTonen zum Auswendigspielen und lauto be named aloud in the 21d -7 ti posi ten Aufsqgen der Tone in der 2.tion. Passing from one string to the next in the 2 Ld -7 tJ1 position. Intona- 7. Lage. tibergang von einer Saite tion of Intervals relative to an open zur nachsten in der 2.-7. Lage. L?istring in the 2 n-d to 7th position. Pass- tonieren der Lntervalle zurleeren ing to the next string in broken fifths, Saite in der 2.-7. Lage. tibergang in the 2 d r7 tJ position. zur nachsten Saite in gebrocheExercises within the compass of five nen Quinten,in der 2.-7. Lage. tones through seven positions. Ubangen itn Umfange vonfiinf Tonen durch sieben Lagen.
Placing the fingers successivelyon one string, with rests for the right h n arm, in the 2 D *3 r.d,4t. ,5 t l ,6 t- an d 7thposi1
Table des Matieres. Maniere de placer les doigts en succession sur une corde, avec des silences pour le bras droit,dans la 2 ul e 3 nI ':4m e gme e t 7 me position. Progression diatonique de cinq notes a jouer parcoeiir et are'citer a haute voix dans la 2 12Wme position. Passage dune corde a la corde voisine dans la 2 e-7 rae position. Intonation des interyalles en rapport avec une corde a vide dans la 2"S e-7 la e position. Passage a la corde voisine en quimtes brisees,dans la 2IS e-7me position.Exercices sur cinq notes passant par- sept positions.
l
1.
Introduction
Einfuhrung
Aufsetzen
in die
2 Lage.
Finger naeh der Reihe auf einer Saite, mit BuhepausenfUr den rechten Arm.
3
den
Introduction a la 2 Ine position. Maniere de placer les 4 doigts en succession, avec des silences pour le bras
droit.
i'st
position
,
2.P0S.
2. Lage
1.
too
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Sevcik Op.ll.V
dem
*^Dnt' Dau/ne/i riicfct gleichzeitig 1. Finger in die 2.Zage vor. **)Wrih/'e/t(f tfej' Pause 6leibt r/er geit auf der Saite Ziegen.
3me Bo-
Einfilhrung in die
1.
3.
Lage.
Introduction a la Supposition.
1.
Pos. l.Lasre.
2.Pos. 2.Lage.
3-Pos. S.La. a
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thumb
rests against
-ftpartirde la reposition dans toutes les positions supe'rieures, la premiere phalange du.pouce toucht le manche.du violon.
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Sevcik
Op.ll.
The placing
The
and
Aufsetzen der Finger in verschiedener Ordnung auf einer Saite in der 2.Lage. Die Anfgaben in Ganzen und Halben sind auch in Halben und Vierteln
quarter- notes.
1.
zu
J)
iiben.
1
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etc.
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1.
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Seveik Op.ll.V
2*
The placing
of the fingers in different
Maniere de placer
les doigts
dans
un ordre
corde a la
proposition.
1. 1
3.Lage.
3
1 1
3e position.
etc
o
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pi
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Maniere de placer
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etc.
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SevSik Op.ll.V
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5tP position.
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1
1
ii
11
o o
ri
ft
'
'
Sev.cik Op.ll.V
10
2^
The
placing of the fingers in different
order on one string in the
Maniere de placer
vm.
les doigts
dans
exposition.
Lage.
etc.
gme position.
IV
1.
1
1
2.
1. I
J_
27" "ST
22=22
2
-O-
22=22
-O-
-o-
22=22
^==22=22
3E a a
ii
r*
--
"V T
r^t
O <S
o
1
i^
CJ
rj
cJ
(*-
<\
1
<5
##
1
m
-m
o=^="s^^^^h:^; OP. 5^
1_
1
"
....
<
r -
V
r.
'
C"
5^
2-
K
O
V ^
"S
ey
TT o o
r->
r-
II
rJ
.J
<
'
is
e g
IT
<
--
o 2
1_
g
22=22 o o
22
ff
*
i
ff rrr
:
rr ftV
i
rrv
M
fg
i
e-
O O
XI
rrr frriff
i
22
22
ff r
I
rrr
-(2 -2-
O
2
-242-
O
22
O
|^
ff ^irri" ^
i
--
o
g)
2
,
2.
-i
-O-
e F
i
4JL
&
x*.
':
s^
-e1
2 2
.
Xfc
=
g g
;
Xt
x
:
S;
-e:
2.
-Q-
V
A
j
V V
o
o
o
22
Xt
1^
.22
.2 o o
x*.
:=
&L :=:
i>.
x*.
:~
Sevcik Op.ll.V
2e
.
11
The placing
in der
Maniere de placer les doigts dans un ordre different snr nne corde a la
7*5 e position,
etc.
position.
1.
Lage.
s
-&-&-
&
r r r r
&
IV
1
12
rJ
rJ
a a
a a
-o-
a a
&&
--
-& i?
y
(
m
-
r *
<"-
rJ
r-i
>
1
fL
fL
rJ
i*
1_
-&S
s*~s>
TT
-o<5
o o
-o-
E
g &
m
--
IT
a a
o o
(2
-o-
-o-
^
"J
i^
r^
-o-
35:
o o
zz:
I
y
-o-
f\
V V
c-
**
o
II
II
o
td
*>
^
dZ
p
f*
1
*?
^^
"V
eJ
O o
g a
T*~
i.i. O O
r ffr
i
^^
ff
i
f^
i
'
i
ffri ff
i
^N^
i
ee
a a
rr
o o
^
i i
ffr
**
i
ff
B
#^:
sx
-o-
o
O
<^
1
I
2
a
j
i
a a
^^
-O:
Ai
i.
o
^
:
^<a *
^
sx
a.
-ej
2. 2.
.
s- &-
XL
?;
S;
-:
a a
-e-
2L
:
X*.
9- &
-O:
a a
--
a. a
v
i
rj
u u
&&
sx
?znz-
&.
-:-:
&&v
o o
r>
&-&-
.a.
a.
1_
SevSik Op.U.V
12
3.
To be played from memory.
Diatonic progression of 5 notes begin-
Auswendig- zu spielen.
Diatonische Folge von
Tonleiter.
Tonen,
ning an each step of the scale. Name eyery note aloud and before each new group name also the lit and5*h note, in order to know up to which note to play
gamme.
Nommez
et ail
commencement de chaquenou-
veau groupe nommez aussi la ire e t la 5ni e note pour savoir jusqu' a
2nd Position.
2.
from b to f. von n bis J'.
de
si
quelle note
il
faut jouer.
Lage.
gme
fa.
Position.
jusqu'a
jusqu'a?
M f
a
0000\
O-
0000 ^+
00
-e-
000
from g to? von g bis?
XE
0000
000
O Di O
dg^sol jusqu'a?
^V
0000
-O^
0000
from b to? von h bis?
^- ffff JI
IE
0000
-Q-
0000 -
-o-
-o-
^m
si
de
jusqu'a?
JQ
000
fc
00
jusqu'a?
FFFf*
-&-
-o^
O- -i
0-0-0
XE
0-0-
gg
aMm
ii_
00 00
___
jusqu'a ?
? ffffMrrm
ii
00
rTrViV rrr
~:
O,
- O
i
0000 .**
Sevcik Op.ll.V
13
from a to ? von a bis?^ de la jusqua ? from g to i von g bis?
de sol jusqu'a?
_t
- 33: 00-0-0
00
m
m
/^ la*
rrrrnrrr
from
e to?
* -
ssgi
^-
de fa jusqu&?
de mi jusqu'a?
-*V
00
M*
-*>
dd dd
1
JJjJlo[
P
W,
*-
331
^
3X *
jusqu'a?
33:
IE
from
z>o#
<7
s
a to?
<v
bis?
de si jusqu'a?
* H
3.
de la jusqu'a? /TN 3t
||
33:
0-0-0-0 33:
dddm
-o-
JJJlol J w
from
o/7
f to ?
/bis?
de fa jusqu'a?
00
xs:
xr
-^V
XSl
W0-<
o-
0000
m
x>
-e>-
dd0d
]
The same exercises to be played from memory in like manner in the 3. 7th
position.
3.
Les memes exerciees doivent etre joues de la meme maniere (par coeur)
a la
3me.yme position.
Pos.
etc.
3. Lage.
>3.Pos.
3E
4.Po^
\4.Pos.
00-00
-&
1 1
0+
33:
3 O
90 90
--
mat
-o-
--
etc.
33
5.
a?
z?
1
i
1 1 1
-o-
-o-
ZIZ; O
"
000 XE
0-0
0-0-0
00-00
Pos.
5.
Lage.
>
W
/\5. Pos.
/*
etc..
1 1
11
^yj-
oil
6. Pos.
6'.
JJJJ n
JJJJ
a
6.
Lage. IV Pos.
33 o
7.
7.
I
o
0009
PES
o
i
X>
l^^ IE
etc.
7.
3!
0000
rnirrrr
x>
Sevcik Op.U.V
14
to the
next
der 2. Lage.
fofhhrririrr
o o
rr rirr ri
i
XX p
a 1
2.
p & IX P p
-o-
xx
li
XX a
XX
(
g e
:xt
#1
V V
f^
1
|
p p
--
m u
p p
<x-
o
*^
it
!>
r
i
&
-XX-
P r P
I
o
rj
*-
p p
-o-
XX
-xx-
xx-
XX
o o o p p P
I I
XX 1(9- XX
XX
$
A W5
eJ
a a
o o
XX
XX
SJ
CJ
1-
XX
c
<"-.
B=P?
XX
si
XX Q-gJ
O O
XX B B XX BIIP XX d d 3i
1.
1_
o
5J
r "
rs
V 5 '5
V V
4k
c<
>
V V
3
CJ
i".
a
uu
eJ
r r
o o
2
4k
si
si
i>
n>
cJ
<rJ
cJ
cJ
cJ
cJ
4*
\
**
Cfc
-5T-S*"
XX
p p
o o
a p
xx^
o d d
'
XI "d d "" d d
o
'
>
"d
o
P3!!
o
XX"
j-j-kT J
o
J
l
l^
p-p
xx
g B lo
O
XX
1 XX
p p
o o
p g
XX
P P
o
o
a d XX p p
O O
si
in
XX
o o
IX
TX
iiUii "
1
Sevcik Op.U.V
4a
Passing from one string
in the
to the next
15
3 position.
^rhrirrir,fr
o o
IE
1.
r^#^
s &
.
a p
1
p p
-O^
o o
--
IX, o
x>
1
*
*
ffl-l
o
1
o
'
.'
f- f.
*
1
IL
S-SJ
l
'
'
v
o
||
'
\j
^VuPT^"*! a
4
o
*M%ff
-**
gg
U_ p p
X1-,
O O
--
a p
P_Q
-o-
-o^
p a
O O
-^
i
3
O
O
IE p p
P P
O
a a
o
-o^
IE
^
o o
22
i
^
gfcP
p p
\\
p c ie
a^-p
ig-p
ie
P-Tg
o
o
o
P P xk g
ll
-P-J5-
^
o o
tgg
a
o
3
o
IE
ie
^-d<l
P-t- 31
O O
O
i_
gJ
aJ
-Q-
gJ
<
g -
a a
o o
x*
rJ
gJ
"p-p- x*
o o
gJ
d d '" p~p
o
o
rjj
-ijju
i 1
k
"S
C-
a
o
o
II
1 o
>-
II
1
i
g;
L_
a a
o o
i_ti
" a a 5^
-a "P
2
~a
o o
XX a a
o a a Q^::^^ o o
is:
XE g-^P
a a
o o
gJ
rJ
a a
a~a
SevcikOp.U.V
16
4b
Ubergang von einer Saite zur
nachsten in der 4. Lage.
4*? position.
4 nJ e position.
o o
|S3
-*
r-i
1.
m 13
2.
-O.
o o
ii.
rrrifrnrr
g p
o o
-*i
o o
*-
g
-O-
o o
_1X
1
1
Q
r~>
Si.
flV.ff
f^M^l"HN^g
1
O O
x*.
S^S^
&
1'
1,
'
11
11
frf\
V /L
A
c a
o
<i
4k
<^.
|l
t
S3
V\) J
a
o
i
"J
ri *-*
II
>
rw
cJ
^3
S3
(S, (S,
<v
o o
y
v?u *J
Cr
ss
4fc
S3
p pO^
f
1
S3
r-O-j
**
(S
S3
"3
*
IS
r*
q 3
r.
i> >
'
o O
A
S(
4k
fZ
S3
S3
fin
eJ
S>
i-J
iSJ
rs
tk
S3
c n
o n
**
41
o n
g g
o o
J=
:L -
g d
=*
o
dd
tvl
^^ oi^ I
i
^j
o
a?
31 d d
a a
o o
gg
X5I
o o
o o
is:
a a
o o
roc
<SJ
<S3
oel
a <^ d=gk=^ g g
H
o
-^
gJ
a a
o o
-*>
331
s=s:
g g
o o
g g
o o
XX
<S
<v "
rJ
'
o J
I
rJ
f>
cJ
fJ rJ
ll I
o o
E c g lo d d
I
l
t T5~
d gTTrr
o o
Sevcik Op.ll.V
17
to the
next
la corde voi
5 TJi position.
position.
o o
3E
222
^f
^r^.ffi-e^
-:&.
sx
m
iS iS
.
sx
g_g
o o
Ai
o o
m&
^ g#
a a
o o
ffnrrrf? -m
\
XX
a a
o o
g^^
o o
^g^ 1
o o
SIC
o o
a a
ffr rrnrrfi
i
X*.
o o
m
^
i
g g
n
<
II
(2
a-
g g
O
g g
o o
P.
o
o o
a a
g g IE g g
(
-O-
o o
g g
o o
n
<a^
-o-
g g IX g g
g g
gg
g g
o o
g g
a:
gg
O O
~^
n
c> *<
w>
A
t) t;
o
11
g a 9 V
4 -
4 i
o o
"3
'V
o
u
*i
IS
r*
v s_
p>
o o
n
o o
A
s o
1
i"i
g g
1
r*
1
P
1
<>
i_
m
gz
o o
g
o
jjj
^ 3
<*V
f*l
_4c
P^
-O^
331
IE g g XE g g
IE
g-g
o
o
m
IE
in
T~
rJ
IE
IV
g g
O
TTT ni
&
4
IE
g g
o
o- d d IE &-& IE a g IE a g
o o
g a
Sewik
Op.ll.y
18
4d
to the
next
voi-
position.
<A
-S--S-
AA
6d
O
1.
^ a ee H
J2.
i.l.li
O O
ff
i.l.l
O O
ff
L-
'j
!
3.
ii e:
j2
<^~?g
i
-
0-0 0= -p-g
o o
^
o o
ii
i2..g_
ft
o o
yp
o o ?2=P
frr
XX
t-(9
rr
o o
** ^^r fits:
ai
rmrr
XX
XX g g
1777
o o g~gr
ii
sr s
o o
r->
r-
1
i
"
ii
j j r r
x*_
i
3
i
r-
r^
g g
XXt
"g-7
n
x*--it
O O
r1
O
fi>
Q>
g
?Hf
II
v-n
o o
g-g
#
o o
(2
g X>
o o pzez
f
.
|Q
& r ft
I
(sD
Jl*.'
iiJjrirPrimirrnh M^ LJ "5
O O
8
i
-
_-5>
pp
"f^
**"
-s
g a XE
o
o
nr
f
g g
i
XI
&> &>
o o
rr^'ipp
o o
X*-
X*
2ZT2Z
O O
in
S
3-
X*
o o
nr
g S
>
fiJ
a
nr
<
O O
PP
o o
p p =^zai3g
x^-
x*-
sa
X* g g
ipse m
o o u
x^
o o
IE33 g g m
-
X*57
S=^z=?z x^
O O
a a
o o
x^-
a a
o o
nr
g g IE g g
g-g-
x>
Sevcik Op.U.V
4e
Passing from one string
in the
to the next
19
la eorde voi-
yth position.
Lage.
etc.
yme position,
jmW.rr.f.ff.rjy
o o
gr-gr
1 3.
O O
42 j2
~&
-**
-&&-
**-
g g
o o
n
j5r
ax
o o
::
T7J
ax ST2:
B &
1
*
#
o o o
ax
o o
g^^g ^^.a^^e
Al
-o-
~** 42--g-
a<
rfr ff
i
o o
a g
a a
O
S
O O
a a -o
i_
il
g g
x.
s
o o
g g n
_t
^
O O
-1
L.
n Ji
o o
--
rf
o o
ifr
&&-
_Q_
g g
Al
-O-
g
g g
-&*&-
2=Z
a a
o
*
a a
o o
^A^
o o
X>_
lS>
1^-g-
ii
S
O
-O^
f>
g g
1_
-o-
-o- a-a-
)SM&
33:
a~a 31
o o
_
O O
1_
a a
o o
a a
3T"g O O
m
-TT
n
-nS>-g
-O-
iS^nS
1-
31
^-
XE g g
a a
o o
nr
22
BBI o
a~a
o o
a~-a"
o o
"I
o o
til
a-a
^ig
3T
a-a
o o
---E
Jj
| |
JJ o||
|
Sevcik Op.U.V
20
The intonation
to the
Lage.
ame.yme position.
2.Pos.
2.
Lage.
2.Pos.
t\
*
r*s
tJ
9pE
1.
00
p- rrfiff 13
i
3.
A^l
* O O
,3
4
. ,
,,3
a
r
'
--c
OOO
zz:
'0
a.
00
000
m_m
000
000
rrfifff rr
i
m
n
o o
EifffW^
o o
IV.
o o
JJ
~o
o
^r" 00
JlJJ
o
hr^UJ
00
o
i,J
o
00
00
iP^t
*
st
w- w-
ST
-*--*-
-&
-*-
'
JJiUiJ ^^
l
l
l^i
S.Fos.^.Za^eS.Pos.
3
m
OO
i
J J
-J
I
JJ
IV
4
Jij jJ4
,
J.J4
O IE
Oi5
f rfP gsf
.
-^ -^ O
if
rj
m m
00
o o
#rtff.]
o o o
jjr
00
00
00
^ ^
CE
00
o
f,ysf ff >&
,
5:
22= 3i: o
00
nS
r rr frf fff
.
i
m
n
^s
EC
in
i
00
jji
o o
000
#
a.
00
000 r O
1
"j a
o
jjr
00
I
3W^ 00
CJ
IV
OO
f
m
"ST
m
Sevcik Op.ll.V
if
IV
st-
zr
J Er r~rs'
:
-J. J.
^ PP
21
4.Pos.
4.Lage.
\
4.Pos. o o
3E
00
o o
ffrnggf ff
.
001 00a
r,i|jjr rr.i|jj^r.i|jjf|rrj
000
.000
,
000
i
000
|
jjrirr,i|jjn^ 000
1
&
rrf
2
ff
fff fff
4
rrnrrP
n
00
2
in
P
1
f*
*
O
V
m
O
3
rj
#
c
9 O
^
^J
000 001
* d
_ [J
-g
* '*
l
1*
*_
-J-*
-&
J J
U Jl
tEF
d=fag_*
i rrnrrnrr
m
rv
XT
s.pos. 5.POS.
1
-g.
o o_g-_
ifE
A# p ^p o
P. o o -p
W~W
00
o o
00 f (Sf o
I
o
00
Z2I
m
i
M"
00
jr
00
00
o o
jj nrrJ
o o
Plfp fjfffn
000 * :"#
|
rr,j
jjriff.iujf
000
rr,i
|
jjr rE 3
00
in
o o
m
'
o
n -
\m
O
\P
o
\"
I
||
*
o
^*
23
o o
00
00
O
o o
00
rv
o o
PPP
3
5io
2
1 5 s
1
^r
^-*-
3*"
#*
1
yt
--J
3"
"y
Sevcik Op.U.V
fr
~n -rs -i-4= g
S"
= =stj,L *- 2
wwl*
"P
rr~ p ^^^L-^zs-l
rv
tf
IV
22
6.Pos.
6. Lage. 6.Pos. nr
wm
o o
9-9
o
mzm.
9-9
00
a
o
00
rv
m
o
00
a
o
00
o o
a
o
mm
o o
o o
eppg 00
"ST o
4
3
TS
3
V-0-
if
A- VJ
:
m
rv
-^
f-
*-*
cJ-J^J
du^m
K- d J
rJ
|>
m. m.
-g
9 9
'*---'
f -U-|r^
f fr^
f-g ^
s-s
rv
P
f
11
1
#;:
"
x
1
O
5?
J J J
1
|J J
"I
'd
o o
-m F
OOH 440
O"
^^
o
oo
:
'
.2
a
o
m m
a *
1
00
00
r rr.iijjnrr.
i
o o
000
ii
jjr
00
rr,
o
i,
jjf
00
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rf,i
o
:
jjf,fr,
OO
o
i,
jjf
00
rr.j
o
7.POS.
7.
jjnrr
00
o o
gg^g
n
& - **
f f f frr
|
11
Lage
rv
7.Pos.
3i
ff
o
rr
3T
TT
yy
1 1 1
1
"w
"#
r
"S*"
P??
"
ST
~W
0.M.
o"1
i*
1
o o
P
o
o o
o o
OO
o
o o
*QE g=-yy
00
00
o o
f
O O
rv
o
m
o o
^
#*
o o
lee, * ee 00^ t 4
(O
I
sznrt
000
ffi
f
SevcikOp.ll.V
rr^^#
O
O o
1-
Hi
23
6.
Passing by fifths to the next string
with a single finger in the
3 n_d position.
Quiiitenubergang zur nachsten Suite mit einem einzelnen Finger in der 2.Lage.
Is 1 -
rn
1 1
rr
Ptt
p-p
IE
l.
o o
VZ32.
g: P a
o o o
1 1
zf-q
o aa
o
o o
T5"
1
ps
o o
1
M
O O
O p pp
I
o
r-i
ie
P-P.
IE
gp
o
i
jli.
"O"
JJV^
& B
3TX
te
IE
ii
o o
IE
p p
o
V^ V4l
o o
f
,
a p
35:
a a
-&-&-
S
XT
i
31
p P
o o
1
IE
p P
a a
P=2Z
JQl
p p
XT
1
Z2T
ie
o
XT
l
2nd finger.
Finger. 2'U e doigt.
2.
3E
--
d a
W"8T
O
2
2 2
p P
Ki
aa
o o
~o~=g
o
fMM^
_ i -'ii XE
' '
o o
m
a a
p p
o o
Pza
2
O O
p p
ZEE
p p
se:
& p
p p
IE
O
IE
ZEE
~te
e;
p p
~P
o o
i O
-o-
it
2
m
-*v
-o-
-o-
P P
2
li
2
o o
2
a a
a &
-2
^O
TE p p
-o2
wm
XT'
,
p a
^
tr P P
g*~P
-O-
_o_
pp
o- p p ^^-P-P- IE
P-^P
PP^
-o^
sr-P
XT
Sevcik Op.lI.V
24
3rd finger.
S.
Finger.
igt.
3ined
"Or o o
M
'
if
p o
o
'J
O
I
<
.lr'
o
ff -ifr
i
< \
\P
(2
n-
o
3
3
ff
3X
O P P o
o
3
TT
^
o
o
g>
oi a p
O O
sx
^f^
3
4
TTTT
AA
XT
Ai.
rr
a
3
rr
'3
'
^Ml
P~P
i*
p
"O3
3X.
3
3
rr
p p
^
O
<zj
IT
-S^s: ?7
o
~Ti~
3t
33
ii
3
-
**=
p p
-O2
B=B
1
i
p
--
-xr-'-^f -fe T 3
rr
!
-m*
3
^-?-p3
o
4
LJ
"t sL^l
^-'-^f
i*
3
o~p-p
sUs^
^1
4ln finger.
4.
Finger.
4i2 e doigt.
3E
"pr-P
-
P
-o-
-OT3"
P P
o o
H ^E
o
-O
o sa
II
o o
a a
o
o
4
f\ y Jr_
f/f\
O
Ti
f
1
P
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ZJ
O
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4
j
fij
u V
4
"v
e)
-& S
O
o
4
4
4h
4
o
o o
o- -p
P P
-O-
-O-
P
3E
o
!pp33:
-^P
P P
-O
4
O P P
"
31
P P
o o
P P
4
W*
r-
-O-
3CE
-3
-o-
P a
o o o o
-o-
-&-&
-o-
p
O O
^
O
O
-o4
I
-O4
o o
a &
i
o o
1
s 33
4
PtS^
o
-OH
o o
o
TTTF
^
^
4
212
O O
O o
^if
o
O"
o
EKE
fr
P4
1
ff *
-O
^*
P-S
O O
P-
1 4
-O-
&
Y# f IT
TT
212
1
33
ir:2i2
O o
^
-o
szs:
p P
o o
-o-
xs
^ && ^
Sevcik Op.U.V
6*
Passing by fifths to the next string with a single finger in the
3 f d position.
25
voila
3me
etc.
position.
1 st finger.
1. Finger. ier doigt.
Wi i
n
i
~B
W
o
j
i
ir r
i
n
O
-I-
3|E
g
77 77 in
rv
33" o
g g
O
-O1
g
n
331 o
i,i
o o
irri"iri
n
j
1 1
t-
XE g
3E
in
p
-$9
d- ^d
o
1
XT
3"3"
--
d d
o o
F^
o g
1
O
2
F+^ g g
o o
o
d d
o o
1
g a
-o-
i
o
zs:
rr "rr
i
-o-
g a
o o
XT
f#
O
1
-o-
a a
o
o
-O-
g a
"77 "g"
1
33"
g a
^m
..
2" d finger.
2. Finger.
2me doigt.
3
77 -g-
^
a
"g
o
331
g g
OTT
o
.hirr
o
1
g
O
ZJ
35=
A
Jr ws
2
s;
s*
d d
3
3
[ 1
'
O
ZJ
O
o
d d
o o
4k
d d
3
d d
O O
XF
"S
"75
^^
3
3 .Si
jju g g
"g
O
a
m
-J- -Ji
i
~rr
~rr
33"
FT
1
1
33"
77
"77
3
a g
a
ii
xr
i
a a
i
33"
-O-
SZE
35Z
g~g
ife=
rr
-i,i,
o o
**
i
g g
-oo o
**-
d d
Sevcik Op.ll.V
26
3rd finger.
3.
Finger.
3
3medoigt.
&
o o
"3
^m
3
o o
a a
o
3E
o
eS
o o
o t\
II
o a:
^
o
o
--
tt
o
3
-o-
e
3
>
33"
O
sr -&
^
3
3E
~rr
I
P
1
p p
EXE
--
3
'J
f\
(ro t)
c
o
(^
4.
*-
"
o
o
.ns.ff
P~ TT
--
p p
^ ^
o
He
ST
o
P P
o o
tS>
^
(S
i
3
--
E^
33" O
p p
pm
o o
^
=3EP
4
p e
o o
m
33"
p p
E
4 tJ1 finger.
4*ne doigt.
-o-
er-Q
i2_P_
p
o o
--
#
O
p o
J J
'
| |
X5"
4 Finger.
.
p P
3E
P o
o
P
EXE
~Ti-
~T8~
3J~ o
P
o
<s
E^ Q
O
4
_Ck_
P- - P-
P=P
22EEEEP
i
o
4
p p
~rr
4 4
aJ
eJ
p p
~rr
H
_k_
-ff-
P-
eeceee
;==
O
4 -Si
O
4
^
O
eJ
3E
.Q.
33:
o
i
o
1
p p
:
it
p p
s
o
^
o o
a a
3 3
3?
--
i
o o
3?
o o o
=2EEEE!2
i
33"
o o o
-O33"
o
J=pL
EOXX
no
=g=g
o o
s33"
O
&
o
o
"ST "S*-
XT
O
S
o
IK
o o
Sevcik Op.ll.V
6*
Passing by fifths to the next string with a single finger in the
4th position.
o
27
Quinteniibergang zur nachstenSat- Passage par quintes a la corde voi te mit einem einzelnen Finger inder sine employant un seul doigt a la 4.Lage. 4 me position
etc.
i i
l?t finger
1. Finger. 1<* doigt
1
.
/?_ /*
O
'J
AX
1
=J ^1
O
41
it
r..
a
1
t\
4>
1
3- if
"?5
o o
r*
s>
^
o
. 1
>
o -p
Ai
f
35=
3E
3E
3
O
3T"
o
"23
1
TT
"
I i
ff
(S>
35"
1
a a
35"
1
TV
"2?
C?
33"
1
-Q-
n
s>
3E
27
&
33"
1
<gj
35=
DO
rr
o o
c?
OB
2 n d finger. _
2. Finger. S^je doigt.
g
35"
IE
"ST-27
g p
>
a
O
-o33"
o
o
o
o
33" O
o 35=
3
3
<s
33-
*
sr -&
o o
=22=
35=
i
O
-F-
35=
3
fg
a
35
n
&-&
3
xr
3
l
^
o o O
33-
a a
-3-
i
i
33-
33-
O O
-o-
o a
-o-
33-
^
<
s
33"
O
3
35=
o o
I
I
33331
35o
33-
WW
f
1
33"
o
35=
a a
o
^
1
35=
33-
22=
J=
>
~gS
f f
1
sy o o
v>
33I-
CJ
g
v*
33-
g O
J J
I
'
II
Sevcik Op.ll.V
28
3 r d finger. _
3.
Finger.
3
3medoigt.
o
g*
3 3
X
rJ
Ji
*
o
3
tk
<v
a r
V
*
4k
O
*
o
'J
g?
o
4^
o
3
*2
-(2
PL_
P==Z
O
3
P P a a
"*3"
_0_
a a
3 3
42.
P=P
-^
42-
3E
O
42
^
3=S
33E
o
o
P=SZ
_Q_
a
3
ej
TT
i
gj
g-
o
3
Tr
o
_4A
S
i
-e-eo o
=
=8=
o o
P=P
o
-O-
a=a
331
j.ir
o
j^:
P
a a
o o
TT
-o-
^^P
i
4*! 1 finger:
4med 0i gt.
4.
Finger.
o
19-
p p
-OO
,
2T
"S"
-O4 4
O
4
^p-p
o
#
-o-
HE
o
4
3E
4
^
4
o O
4)
^
o
o
**=
o
o
TTsr-zr
4
-o-
--
p p
o o
p p
o
^
O O o
s
o
p a
ZEE
#
&&
3T p p
*>
4
i ^=~
TT
-&-O-
P P
o
o
M
o o
4
p p
4
4
4
-3-
-OO
4
P C
o o
o O
-9-
O -oo o o
4
9-
-o
4
4
o
4 4
o
o
-o-oo o o
&
o o o
o
-o-
o
4 4
o
o
o
-*-
o
4
o
2=
p
o
4
-o<s
<p
^so
3X
O
o
4
S^S^
p
o
-oT5"
3X
o o
o
o o
o
O
-*-
o
4
o
4
-sr
3DC
S
~*3~
'ST
-o-OO
TT
O
*) En jouant des sons harmoniques on touche la corde legerement, sans la moindre
*) In playing harmonies the finger touches the string lightly, without any pressure.
*)ei Ftngeolettonen
(iem betreffeiiden
Druck,
Seveik Op.ll.V
berilhrt.
pressioti.
6?
Passing by fifths to the next string Quinteniibergang zur nachsten Saite with a single finger in the mit einem einzelnen Finger in der
5th position.
o o 5.
29
Lage.
1
1
i
I
5me position.
_
'
S
i
.
o
i
a 4
1
I"
1
p
i
r r
i i
f-^
ii
i*
6
ii
r r
^
|
rr
I
EEf!
-tt-
I &*s
o o
& o
ZE
-o-
g g
o o
-o-
-o-
g
o
1
ei
<s
-&sr
IV
-Q--B*
o
-ll
o
.l.l
o
o
SI
ii
-Oo
g
3CE
"n-
(g
"TT
o
^ ^
g p
o
2. Finger.
-O-
XT
^-3*-
i
o
-o-
a g
3T g
~rs~
"XT o
-s>
g
o
m
g p
-o-
-&o
H
3
f
"sr
-o-
at
&.
-&L
TT
2ZTE
sr
o
2%d finger.
2me
doigt.
**
TT
31
f*
p p
a a
o o
o g
o
a a
o
o
*.
a.
:
52ZS2L
5t2Z
o
3
"CT"
O
3
m
g g
o o
Ik
3 2
*
eJ
p p
i
p p
ZL
ii
"J
s>
g g
3
-
A
VVU
(.
p p
*v
p.
k
2.
3
<~k
Ik
2
'J
p p
II II
4i
It
It
IV
2
3
<V
p
2
A U Jf
iJTn
a.
p p
it
P.
3
Ik'
G"
(S
It
IMJ
a g g p
i
2
13
"g
g g
2
^
i
o
o
SevcikOp.ll.V
-o~
-o-
~Tk~
-*-
"sr-g o o
p g
-^
"g~g
o
2
P P
~Tk-
3T
"2?"
a g
3E p g
e
o o
s
o o
^8:
:
^;
g g
O O
tr t
30
d 3 r_ finger. 3. Finger.
3medoigt. O O o o
^
i
-g- -gi i
-O-
^rn
*-
rri|jj|
o
3
-e*-
TT
o
f
o
3
TT
-sr -zr
-o-e*-
1
O
^7
o o
^g
o "
o
IE
g
o
ZEE
g g
o
g g
TT
o
-E*-
g g
-C*-
#
gzzg
o o
o
o
3
o
-3-E*-
o
o
-g- -g-
o
(S*
g g
^
J
o
-e*-
gs<
g g
o o
IE
-e*-
g
o
o
~E5~
g g
o
e*
55
2ZZ2:
g
O
-*-
P P
3E g g
d
-
^
O
o
-O1
o
3
-g"
##
1 finger. Finger. 4IS e doigt.
pz
-&L
m
J
-o-
4 St.
4
m
331
^i
4.
IE
P g
O O
-E*-
^
A := :=
4
3E
Z2ZZ32
ii.
pszzzpz
TT
O O
4
'
[J J [o| gg
"
r>
pzzp:
XL
p p
e*.
TT
P p
M
A 42
2.
4
A*.
O
P-ZZP
IE
gzzzpz
TT
^Efej
"TJ"
4
Afc.
i
~ET
rv
p p
ZEE o
i:
n
ZEE
ZEE o
$^m
o
o
o
4 sx.
P P
n
o o
ZEE ZEE
ni
g a
o o
rv
XL
JS.
"
.1
I i
ff
4
AX
rJ
xx
XX
si
P
o
o
4
AX
AX
42.
rv
n
in
4 4
42
42.
ni 4
i
Sevcik Op.ll.V
ZEE
~g
o
g
o
o o
ZEE ZEE
o o
ZEE ZEE
6?
6th position.
i
Si
Passing by fifths to the next string Quinteniibergang zur nachsten Saite Passage par quintes a la corde voiwith a single finger in the mit einem einzelnen Fi?iger in der sine employant un seul doigt a la
6.Lage.
etc
6m e position.
i
$m
l^t finger.
i
l
m m
r~r
r n
r r
ii
Finger. l r doigt.
1.
*p p
o o
p p
i
<>
II
o
ez
a g
n
TT
o o
ZEE
n
i
m
ii
1
rv o o
1
XT
o
^
"Cf"
Q
&\
J
^ 3
P P
*>
P P
*
r#^
l
a p
o
1 -
II
h^jO
_o_
cJ
cJ
4k
o ZEE
P-P-
fc II
ii
o o
sz
p a
o o o o
II
eJ
a
O
M
o
o
pa
o o
P p
o o
L-L
I
-p-p o o
p a
g=g
o o
s
o
e-e
o o
s
o
2nd finger
2. Finger.
2me doigt.
t\
3E
irr i
i
^
o o
a a
"TT"
-oO
p p
o o
g a
tt
^-i?
-*s-
p p
o o
^
O o
3
a
3
3E p p
o
o
3
g P
TT
o
o
Pf^m
-o-O'
O
3
--
O
3
1S>
p-
O
)S>
-o3
s^s^
o
3 3
&
o
--oo
3
O
3
O
3
'o
"
o
3 *
r>
-4m
s
o
**
00
\
"
O
--
p-p
-
XT
o
00
i^-P
3 -iS^-p-
H1
00
o o
p-r
gp-
p
O O
3E
if
3E
-3
3E
P P
o o
p p
Sevcik Op.U.V
32
1 finger. Finger. 3me doigt
1-
.!
3.
3k
^
o
o
n
3
SZ.
g a
-Tf-
P P
~~o
g a
IV
m
o
3
~P
O
ni
3E
n
O
ni
3
o~ lff~
Si.
IV
3E
ff!...ff
II
3E
3
o o
3
AX
JCC
o
m
3
s g
o o
IV
3A4.
-Si
-|2 2.
.2
jS.
<2
~rr
g g
:= f1
3T
3
HE
He
II
^
3 3 3
IV
m
3
fi
IV
*
~& ~&
HE
IV
g g
Xk.
m 3
<>
|
3
-g.
rr~
g g
o o
p a
"g o
2=2
o o
At
-P P:
At
3
P p
o
g
o -O-
2=2
o
HE
21
o o O
3
-oIV
2
3E P~
HI
-o3
P g
HE
g~g
_o_
IV
a a
o o
i^
-O-
8 'g
At
o
p P
"SLVSL
P
o
^
>
ffi-
At
o o
*t
afi
r>
-fe
tP
J &
4
tf"P-g ^
:
rs
r-n
:
-o-
-- "-?
"
&-^
^-t^p
cv-l
4 n2e et 3medoigt^. * o o ==
^^
j^
3E
P^g
H
4
3
t)
o o
i;
SiM M
o o
4
p-(g
G>~g O O
IV
XTTff
3
-o-
m
x-
g"g
o o
m
-o-
-ff-
rv
IV
o o
o o
p p
o o
g-g
-o^
p-p
1^
##
w
4
*P:^:
n
IV
4
I
IV
g-g
HE 4
-o-
^Si
P-P
-O-H-P-P
O-
-C-iS
g g
O
H
o
4
-OO O O
m 4
XE
f
o o
m -O &-&
o o
H&r
^
o o
IV
p g
-o-
p-p
IV
PP
= p~glEJ doigt.
n
1
gg
O O
in
-gp-
fTHfp
O O
gig
o
o o
pp
p~P
3DT
4me
et
Sevcik Op.ll.V
6!
Passing by fifths to the next string Quintenubergang zur nachsten Suite with a single finger in the mit einem einzelnen Finger in der
?th position.
1st (i n e r. g
x
33
7.Lage.
i
Passage par quintes a la corde voisine employant un seul doigt a la 7mep 0s ition.
etc.
l
Finger. lerdoigt.
1.
ZZ
o O
^
i
rf
i
Bi
fri.
n
i i
m
1
o o
1
m
i
:z:z:
d
n
aocts*
i
n
19-9-
X>
o o o
--
o o
nj
m
9^9
9-9iv
< i
IT
p:
IE
xe
o o
^Br
o o
o o
9l9
&-S.
*>
1 l
^
<*
i
0-1&1&
i
r
n
**-
i
i
i
I
2ld finger.
2. Finger.
tt
2
"s^sr iv in
^ s-e-^S- 1o 3 o o
O^
*>
<*
"-E -s-s
^^tShS
IV o o
&&
'
'
-^y
o o
V o
n
oo
&&& pzpi
bo
*-
gme doigt.
dE
SCP
O O
a
3
::t
i
o o
O-Ci-
aog
-t
n
o o
-O O
2
m
2
H ^^fet
o o
ni
9~9
XT~
o
X5~
=3
o
9=9
i
n
2
XE
rv
m
?&.
is H
%
''
J
XI o o
o o
n]
o o
n
d-dX*.
XX
IV
9""9
m
is% o o
2
H
2
XT
2
n
-g-9
:si2
2
2
-9-j2.
**
zz
o o
i
o o
ii.
23
~o~~b~
93
o o
ii :=:=
(2 2
xi ~:= xx
I
55
o o
99
o o
53033:31
IE
S)
pp m :a:s
V
II
<v
O b
^?
'
^- *r pzpz
,
=
i
1
XI
= xi
1
2si
o o
223
3^ 3 o o
h
33-
4H
o o
XI x> zzs:
SlU
o o
3
TT~
3rd finger.
Finger. 3i e doigt.
3.
q =
3
f
9"ST O O
^^
(SHS
o o
ffl
IV
CE3
o o
XI
XT
99
XI
^^
o55 o 00
&-&
IX IT
feg OOO
&&:
3
o n
^t
23i
H
=
:
33l
-as-
a
o o o o
nI
o
3
3
O
&&
00
o
o b b
-StPand 1st finger. 4.undi. Finger. 1 4m.e etlrdoigt.S:
o o ~=11
tt ^00
srgj
aria
-aild
llTfinger,
s
-ff
>
<
5^7
o o
lS-|S^
*i-
m
P g
o!
T3&
o o
rr
nurirrri
00 n
4
m
XX
^2. 4S.
=
gr-g^
O
9-5?
4
ii
-o-
33;
-o
o o
^
o o
Sevcik Op.ll.V
2f =
44i
Q
Z
33
4
p
9 9
55
o o
s
Ai
P5
^Pf#^
o o 9^9:
5 P
_o_
^ :& :-:z
o o
4
"9~9
o o
ii
f
1I
o
1.
ii
I3l
PP
ii
,
1 :*:
O.
ST
i
o o
H
o o
-9_9
3CE
X5 o o
34
Exercise in 5 notes through 7 positions.
7.
Ubung
in
rious keys, *)
Exercice dans la limite de 5 notes parcourant 7 positions. A jouer par coeur en divers tons,*' nommant chaque note a haute voix.
Changing
par
2nd finger.
dem
2. Finger.
5.
Pos.
6.
Pos.
5. Lage.
6. Lage.
MAAM.&:
00.0.*^
7.
7.
Pos.
Lage.
fnrf
6.
(2
r ffrff ,ff-ffr
.
Pos.
5.
5.
Pos.
6. Lage.
Lage.
rrrrr rrrrr
i
0-0-03. Pos.
3. Lage.
00
P
1
4. Pos.
4. Lage.
W=F
0-0
0-0
t
1. Pos. l.Lage.
2. Pos. 2. Lage.
un rrr
00
0-0
1. Pos. l.Lage.
Q,
P.
4 4O
^
0-0-0
0000 I
^m
00
6.
6'.
2. Pos. 2. Lage.
a *
1
3
O
I
S
1
Pos.
4. Pos.
4. Lage.
Lage.
4444
5.
rrrrr
0^0-0
mm
S
inD--#_enre.
Fffl^
p
etc.
M p ^^
5. Lage.
Pos.
Pos.
Lage.
2
'for
*>
example
in
Ett.2'7?-b-eii
mik
ete.
3Sjfc
35
00 m>
mm
CJ
-tpp]5,
\
^0
7.
7.
Pos.
Lage.
0-0-06.
6'.
Pos.
irrrrr
5. Pos.
5. Lage.
g
iCLC;nrfr
pfp
Lage.
i
~P^
3. Pos. 3. Lage.
1. Pos. l.Lage.
2. Pos.
2.
L age.
i
O 3. o
ii
i S
*-#
*-*-* J J -J-J J J g
(
B
00 00
SI
04d if
1. Pos. l.Lage.
2. Pos. 2.Lage.
Tfcff
.y j^i jjaj
i
jjjjjijijjj jj
'
i^
-0-0
3.
Pos.
4. Pos.
4.Lage.
^^
5.
JJJ.IIJ
6.
fH Id
Pos.
d m
&
^
^S
Pos.
5. Lage.
0^7.
7.
J J J
f J
0-0
IS
g Lage.
^S
p
pot
Pos.
Lage.
3
6.
6.
rrirrrrfMrr^
5. Pos.
<?
mirr
^
Pos.
Lage
0^m
4. Pos. 4. Lage.
Lage.
0-0-0
ffl*^ g
J J J J J
JJJJgi
3.
J
|
Bf
Pos.
J J J J g
JJ
S
i
3. Lage.
i
1. Pos. l.Lage.
ifn#
wt*
2. Pos. 2. Lage.
=3^
SeveikOp.ll.V
-#
jJJJj jjjjjijjjjiijj
i'JTOj
36
7*
Changing position; ascending with
the
ger.
2^
Wechsel der Lageti; atifsteigend mit dent 2. Finger, absteigend mit dem 3. Finger.
dant par
le
3me.
l.Pos. l.Lage.
2. Pos.
2.Lage.
igg
3. Pos. 3.Lage.
0-0
4. Pos.
4. Lage.
0000 feE
f .fffff ,rrrrf
5. Pos. 5.Lage. 6.
Pos.
6. Lage.
ffffr fffff
,
}fm
7.
7.
Pos.
Lage.
6.
Pos.
5. Pos.
5. Lage.
ff.Lage.
mm00
4. Pos.
4. Lage.
rrrrf
mr
rrrrm
3. Pos.
3. Lage.
000
0000
00 00P
2. Pos.
2. Lage.
1 I Of i.
^
l.
0000P
i r
l.Pos. l.Lage.
00
rw ffi "
'J
fits
O
<S ft
-e.
2. Pos. 2. Lage
/L. C* '"
V\J t)
5-
K
3
aa a a
w-w-w-ws
r-
a a a a
\T~ wwwm
3
a a a a
ft
~m
m m
pii-i
u
1
3. Pos. 3.Lage. r
"
|
JJJJ ^
4. Pos.
4. Lage.
i
I
6.
mmm imzs.
00
5.
5.
E^
Pos.
0c
00
00
Pos.
Lage
6. Lage.
Seveik Op.U.V
37
m
7.
7.
m m
fpFfr
m
(9
r cccr
i
Pos.
Lage.
00
6. Pos.
6. Lage.
0-0-0
0-0-0
rr
5.
5.
rrrrr
rrrrr
r r r
Pos.
Lage.
TTT
4. Pos.
4. Lage.
^
o o
l.Pos. l.Lage.
'
JJJJo
00
3. Pos.
3. Lage.
i
*
0-0
00
2.
Pos.
2. Lage.
1. Pos. l.Lage.
'=0=4=4=
0-0 4-0-&-
2. Pos. 2.Lage,
3.
WPP
3.
^"jJJij jJJiJ
jjsu'jtoj
4. Pos.
00 00 g
0000 Zg
^
1
Pos.
a
-J/
3. Lage.
-7
'
g JJJJj
3
5.
T"""" JJJJJ
0000
J^
1
JJ
""~ 1
rJ
1
4. Lage.
JJJJJ
JJJJJ IJJJJ^
4
6. Pos.
6.
h-
L^^y
|
Ml
JJ
<~J
Pos.
5. Lage.
Lage.
I
* ** d
7.
J
I
JJJJJ
I
JjJJJ
JJJJj
JJ
JJ^
0-0-0
Pos.
"
Za^'
..
/ fe
4444
..
m m g-* m m V
9 *-*-*~rj
^p
rx^ " * P
. .
* .-jJ
1
p_
44 44^
6. Pos.
6. Lage.
5. Pos.
5. Lage.
jUgg
4 p OS
*
4 z %g
a a a -*
irrrr
'
J
1
JJJJ J
JJ J
3
0000 s
P OS
Z ig e.
- -L* -0 i-j.
m - - ^75
hJ- s.
- -m -0 -s
<
Tl -J^S
~a "T1 a -^
J-JJ- 4
2. Pos.
2. Lage.
l.Pos.
l.Lage.
Sevcik Op.U.V
0-0-0
JJJiJ iiiij
'
^'jjjji'
38
VI a
Together with the following Part the pupil should begin with Part VI C - 40 Duettinos (Bohemian
,
sui-
Duettinen (bohmisehe Weisen) in der 2., 3., 4., 5., 6. und 7. Lage als
commencer a travailler la partie VI C,^- 40 Duettinos (Melodies bohemiennes) a la 3iS e 3me 4me sme 6 me e t 7me posi,
VI a
l'eleve devrait
tion
remarques sur
le
Vibrato.
Abreviations
et
Signes.
Bow by means
Whole Bow.
Half Bow.
First Half.
of fractions.-
I
i
i i
Tout l'archet.
3
I.
2
1.
Demi- archet.
Premiere moitie.
Seconde moitie.
a
2.
8
2.
Second
Half.
3
1
Zweite Hdlfte.
2
1
One Third.
3
3
3
1.
Un
tiers de l'archet.
Two
Thirds.
3
3
1.
Zwei
Deux
tiers de l'archet.
tiers.
First Third.
3
2.
Erstes Drittel.
3
2.
Premier
Second Third.
Third Third.
3
3.
Zweites Drittel.
Drittes Drittel.
3
3.
Deuxieme
Trolsieme
tiers.
3
1
3
1
tiers.
One Quarter.
Three Quarters
5
3
Ein
4
3
Un quart
3
de l'archet.
4
1.
4
1.
'
f 4 4
3.
4 4
2. 3
'
4 4
3. 3
Quarter.
2. 3
'
Bogens.
4
Deuxieme
Tirez
troisieme quart.
n
v
Down -bow.
Up-bow. 1 )
n
V
Heruntersfrich
Hinaufstrich
.
n
*)
Poussez. 1)
Broad Bow.
Short, detached (staccato),
Largement.
(martele
Bref, martele (staccato).
gehammert
hammered
(sautille;
(martele).
Springing, bounding,
spiccato; saltato).
Springend, geworfen
spiccato)
(sautille';
"
Sautille (spiccato).
Lift Bow.
Bogen
/
Jieben.
Levez l'archet.
Kunstpause (Luftpause) 3)
First String, E.
Kunstpause (Luftpause) s)
Erste Saite, E.
Kunstpause (Luftpause) 3)
Premiere corde, Mi.
Second String, A.
HI
Zweite
Saite, A.
H
HI
Deuxieme
corde, La.
Third String, D.
Fourth String,
G. 3 )
m
IV
o
Dritte Saite, D.
Vierte
Saite, G. 3 )
IV
o
IV
o
Quatrieme corde,
Corde a vide.
le
Sol.
3
)
Open String.
Leere Saite.
,
Sul E
l
mi.
Liegenlassen des
Fingers.
l
,
Retenez
le
The
little
is
finger
to
cfien
Retenez
crochet.
le
M.
Fr.
M.
Fr.
Milieu de l'archet.
At the Nut.
Am
An
Frosc/i.
Au
talon de l'archet.
Sp.
der Spitze.
Sp.
la pointe de l'archet.
1)
1)
Ohne
-BezeichttUTig der
Richtnng beginnt
.
*)
tfer- Avfangstakt
*7
s 3
) )
a brief rest.
fiogen
la premiere mesure au talon. 3) Levez l'archet en faisant un bref silence. 3 On ne doit jouer que sur des eordes absolu)
ment
justes.
CONTENTS OF
SCHOOL OF INTONATION
By
OTAKAR
OPUS
SEVCIK
II
ARRANGEMENT DES
MATIERES.
Partie I
Parti
" " " "
Ha
lib III
1
IV
Introduction to the lit Position. 1st Position. -ISlofe Supplementary* 1st Position. VThe rhythmic Major *Part
1 J
IV
Scales from Parts Ha and lib. Pieces (1st position, Grade I) with piano. 2
Einfuhrung die erste Lagt. Lage. Lage. Nebenbei Lage. vorzunehmen* Lage. *Abt. VDie rhythmisierten DurTonleitern aus Abt. lla und Lage, lib. Vortragsstiicke
in
1.
1
Introduction a
la
premiere posiMatieres
1.
lla
1.
lib 1
III
1.
IV
(1.
Introduction
tion.
III and IV; also the 2d violin to the 29 Duettinos from Parts I,
Ha
and
lib.
2.-7. Lage. IF, Violinstimme zu den 29 Duettinen aus Abt. I, lla und Jib.
in
die
Position. [ SupplemenPosition. taires.* Position. J *Partie Les Gammes majeures rythmiques des Parties Ha et lib. Compositions (Ire position, Degre I) avec piano. 2 Introduction a la 2me-7me Po|
die
lib, zvjeite
HI und
sition.
Matieres
supplemen-
Via VIb
2d-7th 2d-7th
t40
Parties lib, III et IV; aussi le second violon des 29 Duettini des Parties I, lla et lib.
taires:
Position. Position.
) j
Vil
33. lZ:
t+0
-*
Weisen
in
Bohemian Melodies
7th position.
Position.
der
Via VIb
2me-7me
-2me-7me
la
Position. Position,
T^;^" 8 "^"^
j
11 -
Vic VII
2d-7th
40
Bohemian
Pic
VII
2.-7.
40 bohmische
Wei-
sen.
Dazu
Vic
VII
VIII
bohemiennes.
2.-7.
sel).
Lage.D azu:
in
XII
{Einfuhrung
VIII
den Lagenivech-
2me-7me
Matieres
VIII
IX
X
XI
-rl.-l. Lage.
Supplementary!
IX
X
XI
XII'
W. A. Mozart, Sonatas for vioand others. and piano, No. -2d-7th Position. Introduction to
4, 7,
\
\ J
X
Dazu\
IX
XI
2.-7.
2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. taires. Partie XII Le second violon
)
!
%Abt.
XII Die zvieite Violinstimme aus den 40 bohmischen Weisen (Abt. VIc).W. A. Mozart, Sonaten fur Violine
u.
Klavier, Nr.
4, 7, u. a.
XII-
2me-7me
tion
zart,
des 40 Melodies bohemiennes (Partie Vic). W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc.
Position.
Introduc
Shifting.
of W. others.
XII s
2.-7.
Lage.
Einfuhrung
Dazu
:
Lagenvuechsel.
den Sonaten
in
4, 7, u. a.
Diatonic
III.
Lagenverbindungston.
Form durch
:
XIII 1
Matieres supplementaires: W, A. MoSonates pour violon et piano, Nos. 4, 7, etc. Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires t u d e s de Concert: Rode, Concert No. 6;
:
au demanche.
Grade
Stufe.
XIV
-Intonation of Double Stops. Supplementary: Continuation of Con* cert-studies and Pieces from Grades III and IV.
1
XIV
Intonieren
XIV
der
Doppelgriffe.
Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
Anlagen nicht bei jederkonnen die rhythmischen Uebungen aus Abt. lla und lib selbst'dndig vorgenommen iverden, ohne mit den gleichlauf enden Uebungen fur die linke Hand gleichen Schritt
die rhythmischen
Concert No. 23; compodu degre III. . Intonation des doubles cordes. Matieres supplementaires: Continuation des tudes de Concert et compositions des degres III et IV.
Viotti, sitions
1 Because the sense of rhythm varies in indiand lib may viduals, the exercises in Parts
Ha
Da
mann
be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
Parts.
2
It is
zu tialten. In diesem Falle jedoch sind diese Bogeniibungen bei den folgenden Abieilungen nac'azuholen.
ist fur den Anvon grosster Wichtigkeit. Die Klangverschiedenheit zvjischen Geige und Klavier, die vollen Harmonien des Stiickes, die feine Nuancierung in der begleitenden Klavierstimme leiten und dr'dngen den Anfdnger zum reinen Intonieren, zum Anschvcellen und Abschwachen, zum A hzentuieren der Tone. Er viird geradezu gezviungen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb kann man schon neben Abt. 2
play
frequently
with
piano
accompaniment.
The
difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intonation, proper crescendos and decres-
f'dnger
cendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompaniment. 8 To be studied concurrently with Parts Via, VIb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, and XI.
IIIV
3
kleine
Stiicke
mit
Neben Abt. Via, VIb, Vic und VII vorzuNeben Abt. VIII, IX,
nehmen.
4
und XI vorzunehmen.
1 Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ha et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes. 2 Pour le commencant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intonation juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tous ces details le forcent a cultiver une belle sonoritS Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer l'etude de pieces faciles avec piano conjointement aux exercices des Parties II-IV. 3 A etudier conjointement aux Parties Via, VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII, IX, X, XI.
On an Harmonic
for
Basis
Violin
in XIV PARTS
by
OP. 11.
Contents of
ELEMENTARY STUDIES
FROM THE 2nd TO THE 7th POSITION
PART G
b
,
Book
II.
PART
V:
INTRODUCTION TO THE
to 7th). Placing the
Diatonic Succes-
VIb
The
Semi-tone
and
,
Tritone in
POSITIONS (2nd
Fingers
sion
Ab
E,
D\ B
and
on one
String.
of Five Tones.
String to
vals relative to
Exercises.
PART VI
REMARKS ON INTERPRE-
within the
TATION. REMARKS
ON THE
Exercises).
for
TREMOLANDO
(with
PART VIa
E
b
,
The
Semi-tone
and
Tritone in
Bb
and
Two Violins,
Position
Exercises.
and Bowing.
HARMS,
Incorporated
^v
/3- /72-z-
/7
^
.
PART
VI a VIb VI C
,
ABTEILUNG VIa,VIb,VIc
2-7 Lage. Der Halbton und Triton
in alien Dur-Tonarten in der
7.
PARTIES
VI aVIbyi c
2nd_5tJi Position.
2me.yme p os ition.
The Semi- tone and Tritone all Major Scales in the gnd-yth in
Position
2.-
Lage
und
and
Bowing
in the Exercises.
Rhythmisierte Dur-Tonleitern zur Ausbildung des Bogenstri ches in den hoherenLagen mit 690 Ubungen. Dazu 40 Duettinen.
Gammes
cices.
Majeures Rythmiques
le
pour developper
Suivies de 40 Duettinos.
PART
VI a
ABTEILUNG
VI a
PARTI E VI a
Contents. The Semi-tone and Tritone in the Major keys up to 2 sharps and 3 flats (C,F,G,Bb, D and Eb) with 374 Rhythmical Exercises.
Table des Matieres. Le Demi -ton et le Triton clans les tons majeurs jusqu'aux tons en 2 dieses et
3be'mols '(Ut, Fa, Sol, Sib, Re et Mib)avec 374 Exercices rythmiques.
2nd Position.
3
2.
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1
2me
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de Fa majeur.
Scale of
F major
with rhythmical
Rhythmisierte
F dur
Tonleiter.
Gamme rythmique
2me
changes.
2nd Position.
1
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16
3.
Semi-tone and Tritone in
G major
Demi-ton et Triton en Sol majeur (gme.yme position.) Gramme rythmique de Sol majeur.
and Position.
2. Lage.
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etc.
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18
Rhythmical exercises.
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1.
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31
6*1-
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Rhythmiische Ubungen. Exercices rythmiques.
i
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Sevcik Op.it. VI
23
2nd Position.
2.
Lage.
2me
Position.
m
1.^3
o
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1
2.
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etc.
m
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25
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Sevcik.0p.il. Via
26
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RJij/thmische Ubungen.
Exercices rythmiques.
1
1.
1
s-
3
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a:
Sevcik.Op.il.
27
i
5
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41
6th Position.
6.
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22
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30
ii.
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Sevcik 0p.U.VI a
31
Semi-tone and tritone in D major (2nJ*7th position). Scale of D major with rythmical changes.
in
dur.
Demi-ton
et
Triton en Re majeur
de
Lag-el
Totileiter.
(2me_7me p OS ition).
Rhythmisierte D-dur
Gamme rythmique
Re majeur.
2n.d Position.
Lage.
2me Position.
2-12
a o
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32
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1
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Exerciees rythmiques.
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r
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o
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34
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Sevcik Op.U.VI
1*
35
5!.
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5.
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Rhythmische Ubungen.
Exercices rythmiques.i
jt'^ rf
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Sevcik Op.U.Via
36
13,
51
6*! 1
Position.
1.3BS j-J
1
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37
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38
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Vi
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Exereices rythmiques.
1.
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Sevcik Op. u. VP
39
6.
Semi-tone and tritone in
E\>
major
(21&-
Demi-ton
(
7Q position).
Scale, of Et major with rhythmical
Lage).
-Es
Mhythmisierte
dur Tonleiter.
changes.
2nd Position.
2. Lage.
2me position.
1.1
a
i ,
2.
1 l
a _3
i 1
ii
etc.
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3
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Sevcik Op.ll.Via
rifrr
Trrn rrrJ
J
TT
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40
Rhythmical exercises.
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00
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3. Lage.
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1. (ft
it
gZEZZ
r ff ff fr
i i
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Sevcik Op.U.VI a
41
br
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Rhythmical exercises.
RliythmiscJw Ubutigen. Exercices rythmiques. 1-1
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s
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7.1 1
Be
4-t] 1
3B1
Position.
j.i'
rrff p
rrf
J rTi Jj'ijj,jjj,n
6b
4. Lage.
4me Position.
ga * &
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zz:
d
1
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Sevcik Op.ll.VI a
42
aT
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RJiythmische TJbuiigeu, Exercices rythmiques.
^' jemj i
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i
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Sevcik Op.u.VI 3
rr
^W
43
5ti Position.
5. Lage.
5me Position
3242-
ro
i
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B/ii/t/tmisc/ie
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t>
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I
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Sevcik Op.u.Via
44
im&
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cresc.
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m
dim.
a
P
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| fffifffrf
i
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64.
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exposition.
rv
fc
Lage.
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(fin.<H
o
1
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p
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6me Position.
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i
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i
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Sevcik Op. 11. Via
45
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I- i
3.
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v
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IV
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IV
i
42
1-
f rtirt f
i
Sevcik Op.ll.Via
46
IV
3
2.
agB
fc
rrFirrr
i
1^
rrfi
i_
*? +
a
Hi-
fffirfrifrfifffirTrrirrp rrfirrrirTv.urJirj
i
j r
rrrf rrr
i
firrfr rrfJ
l
Rhythmical exercises.
RhytJimische ijl)U?tgen Exercices rythmiques.
1. t
fe
J J
r fr
r r I
^
r
s
# *-+
^/"j^j^iP^T^ir^vr
segue
irFvrr rturx
i
*==*
^*f-p
cresc.
m^
3.
mM
/
6.
i
g.g
g
/
^
l i
3t
#- ^'l*
Se
/
He
dim,:
5.j>
m
f
Si
.
^
X
m
^
1-
^
'
/
r
I
& Hg
i
-ymm
i
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dim.
m
7.^
1
3.
F"F
1
1
1.
gtt
3 cresc.
fe^
f
.
g=g
ft
mf
i
3.
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/
fff fff V
.
fTT
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r>
Sevcik Op.u.Via
f f f f rir
.
i^
^^
Abreviations
et
Signes.
Bow
by means of fractions:
Whole Bow.
Half Bow.
First Half.
l
i
Tout l'archet.
2
1.
2
1.
Demi- archet.
Premiere moitie.
Seeonde moitie.
2
2.
2
2.
Second
Half.
2
1
Zweite Halfte.
2
1
One Third.
Ein Drittel
des Bogens.
Un
tiers de l'archet.
Two
Thirds.
2
3
1.
Zwei
2
3
1.
Deux
tiers de l'archet.
tiers.
Firtst Third.
3
3.
3
2.
Erstes Drittel.
Second Third.
Third Third.
3
3.
Zweites Drittel.
Drittes Drittel.
3 2. 3
3.
Premier
Deuxieme
Troisieme
tiers. tiers.
3
1
3
1
3
1
4
3
One Quarter.
Three Quarters
4 4
3. 4 3 '|-
4
3
Ein
2 4
I
3
Un quart
de l'archet.
4 4 4
2. 3.
4
1.
4
1.
|" r'
Quarter.
4
2. 3
'
2. 3 '
Deuxieme
Tirez
troisieme quart.
n
V
Down-bow.
Up-bow.
*)
n
V
n
V
Hinaufstrich. 1 )
Breit gestossen (gezogen).
Abgesfossen, ge/idmmert (martele
staccato).
Poussez. 1)
Broad Bow.
Short, detached (staccato),
(martele).
Largement.
Bref, martele (staccato).
hammered
"
(sautille;
)
Springing, bounding,
spiccato; saltato).
"
Springend, geworfen
spiccato)
(sa u title'
"
Sautille (spiccato).
Lift
Bow.
(Luftpause) 3)
Bogen
Zieben.
Levez l'archet.
/
I
Kunstpause
Kunstpause (Luftpause)^)
Erste Saite, E.
Zweite
Saite, A.
/ I
Kunstpause (Luftpause) 8)
Premiere corde, Mi.
First String, E.
H
HI
Second String, A.
H
IH
Deuxieme
corde, La.
Third String, D.
Fourth String,
G. 3 )
m
o
Dritte Saite, D.
Saite, Q. 3 )
IV
o
IV Vierte
IV
o
Quatrieme corde,
Corde a vide.
le
Sol.
3
)
Open String.
Leere
Saite.
Sul E,
1
mi.
Retenez
le
The
little
finger
is to
Retenez
crochet.
le
M.
Fr.
M.
Fr.
Milieu de l'archet.
At the Nut.
Ft.
Am
An
Au A
talon de l'archet.
Sp.
Sp.
la pointe de l'archet.
1)
3
)
Unless otherwise indicated, the first measure begins at the nut. Lift Bow and make a brief rest. No practising- should be done on strings
not true in the fifths.
'j
Ohne Bezeiehnung tfer Sichtmig begimit der Anfangstakt tinnier am Froseh. Bogen tieden und knrze J>an.se tnaehen.
Airf nicht quintenreinen Saiten soil nicht
geirdt iverden.
!)
3
)
On
ment
OTAKAR
OPUS
SEVCIK
II
ARRANGEMENT DES
MATIERES.
Lage.
Ha
"
ST
IV
=g 1st
*Part
S:
"I
Ha
lib 1 ///
Supplementary*
J
" "
in die erste
Partie I
..
Introduction a
tion.
la
premiere poiiMatieres
1. 1. 1.
I.
Nebenbei
vorzunehmen*
ttk,
Position.
IV
1. Lage.
t?t III
Major rhythmic Scales from Parts Ha and lib. Pieces (1st position, Grade I) with piano. 2
"
VThe
IV
on
*Abt. VD'te rhythmisierten DurTonleitern aus Abt. Ila una" Vortragsstucke (1. Lage, lib. Stufe I) mit Klavier. 1
*Partie
VLes Gammes
Degre
I)
"
Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin to
the 29 Duettinos
Einjiihrung
from Parts
) J
I,
Ha
and
"
"
lib.
Lage. Dazu: Abt. lib, III und IV, sotvie die zvieite Violinstimme zu den 29 Duettinen aus Abt. I, Ila und lib.
in
die
"
2.-7.
Introduction
sition. taires:
tion,
avec piano. 2
a la
2me-7me Posupplemen-
Matieres
Parties lib, III et IV; aussi le second violon des 29 Duettini des Parties I, Ila et
lib.
VIa VIb
Position. Position.
Suonlementarvt supplementary!
"
Vii
-&%}
t+0
2.-7.
?-t
Weisen
in
"
der
bohmische Lage.
"
Via VIb
-2me-7me -2me-7me
Position."!
Ma
Jres t
Position.
f. ra Su PP en -
Vie
"
VII
VIII
40 Bohemian Supplementary Parts VIb. Via and 2d-7th Position. Supplementary: Part XII (Introduction to ShiftPosition.
"
Vic
VII
2.-7.
Melodies.
sen.
Vic VII
VIII
bohemiennes.
"
2me-7me
Matieres
ing).
"
"
"
IX
"
XI
VIII
-rl.-l. Lage.
"
Supplementary!
IX
"
X
XI
"
XII s
W. A. Mozart, Sonatas for vioand others. and piano. No. 2d-7th Position. Introduction to
4, 7,
"
IX
Dazu
"
XI
2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. taires. Partie XII Le second violon
1
XII Die zvieite Violinstimme aus den 40 bohmischen Weisen (Abt. Vic). W. A. Mozart, Sonaten fiir Violine u. Klavier, Nr. 4, 7, u. a.
Lage.
"
XII 3
2me-7me
tion
des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc.
Position.
:
Introduc
"
XII s
2.-7.
Einfiihrung
Dazu
:
Lagen<wechsel.
von
"
XIII 4
den Sonaten
in
A. Mozart, Nr.
4, 7, u. a,
"
,
XIII*
Lagenverbindungston.
Form durch
:
"
XIII 4
of
through 3 Supplementary: Concert-studies: Rode, Concerto No. 6; Viotti, Concerto No. 23; Pieces from Grade III.
"
Forms
Oktaven. Dazu 3 Konzertstudien Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstucke aus der 3.
Stufe.
"
"
XIV
Intonation of Double Stops. Supplementary: Continuation of Concert-studies and Pieces from Grades III and IV.
1
XIV
XIV
Intonieren
der
Doppelgriffe.
Dazu: Fortsetzung der Konzertstudien und Vortragsstucke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jederdie gleichen sind, kbnnen die rhythmischen Vebungen aus Abt. Ila und lib selbstdndig vorgenommen iverden, ohne mit den gleichlauf enden Vebungen fiir die linke Hand gleichen Schritt In diesem Falle jed-och sind diese Bozu halten. geniibungen bei den folgenden Abteilungen nachzuholen.
Matieres au demanche. supplementaires W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc. Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires & t u d e s de Concert: Rode, Concert No. 6; Viotti, Concert No. 23; compositions du degre III. Intonation des doubles cordes. Matieres supplementaires: Continuation des fitudes de Concert et compositions des degres III et IV.
:
1 Because the sense of rhythm varies in indiand lib may viduals, the exercises in Parts
Ha
Da
mann
be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
Parts.
1 Le sens du rythme n'etant pas le memc chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ila et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes.
play
importance for the beginner to with piano accompaniment. The difference in tone-color between the violin piano, the harmonic structure of the and the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intoration, proper crescendos and decrescendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompaniment. 8 To be studied concurrently with Parts Via, VIb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, X and XI.
2
It is of great
frequently
ist
f'dnger
von grosster Wichtigkeit. schiedenheit zvjischen Geige und Klavier, die vollen Harmonien des Siiickes, die feine Niiancierung in der begleitenden Klavier stimme leiien und drdngen den Anfdnger zum reinen Intonieren, zum Anschvuellen und Abschiv'dchen, zum Akzentuieren der
Tone. Er ivird geradezu gezvmngen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb kann man schon neben Abt. II IV entsprechend leichtere kleine Stiicke mit Klavier vornehmen.
3
2 Pour le commenjant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intona-
tion juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tous ces details le forcent a cultiver une belle sonorite Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer l'etude de pieces faciles avec piano conjointement aux exercices des Parties II-IV. 3 etudier conjointement aux Parties Via,
nehmen.
4
und XI vorzunehmen.
VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII, IX, X, XI.
On an Harmonic
for
Basis
lolifi
in XIV PARTS
by
V
<j
ELEMENTARY STUDIES
FROM THE 2nd TO THE 7th POSITION
PART
V:
INTRODUCTION TO THE
(2nd to 7th). Placing the
String.
PART VIb
Gb
,
The
Semi-tone
and
b E, ,
Tritone in
POSITIONS
sion
Db B
,
and
Fingers on one
Diatonic
String.
Succes-
of Five Tones.
String to
vals relative to
Exercises.
Inter-
PART VIC
REMARKS ON INTERPRE-
TATION. REMARKS
ON THE
Exercises).
for
TREMOLANDO
(with
PART VIa
,
The
Semi-tone
and
Tritone
in
Bb
and
for Interpretation,
Eb with 374
Rhythmical Exercises.
and Bowing.
HARMS,
62
Incorporated
WEST
45th
CHAPPELL
&.
Copyright, 1922, by
Harms
Inc.
-tz~
PART VIb
Contents.
ABTEILUNG VI*>
Inhalt.
PARTIE
VIb
The Semi- tone and Tritone in the Major Keys of A, At, E, Bh, B and Gt.with 316 rhythmical Ex ercises.
Der Halbton und Triton in den Dur-Tonarten A, As, E, Des, H und Ges, mit 316 rhythmischen
tJbung"en.
Le Demi-ton etle Triton dans les tons majeurs de La, Lab, Mi, Re!?, Si et Sol!?,avec 316 Exercices rythmiques.
7
Semi -tone and Tritone in A major (2nd _7th Position). Scale of A major with rhythmical changes.
2nd Position.
Halbton und Triton
in
Demi-ton
en
et
Triton
dur(2.-7. Lage).
Rhythmisierte
dur-
Tonleiter.
2. Lage.
u ffi
*
m
r
etc.
jii'i'
Iirnrf
jUJ
'
^'^
d v
a.iP^
'
r? ff f
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212
2.
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Sevcik,Op.U.VIb
Rhythmical exercises.
Rhythmische XJbungen. Exercices rythmiques.
i
s1
'JFM
li
l
J>
<v
o
1
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2
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trrr? Pr
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l
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i
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a
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1
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i
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m
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7
5. Zag*e.
pp
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2-^
3rd Position.
e Position.
m
m
A
1
1f
3
1
it
TTI-&-
s:
> 2 r .f f ff fr
. .
T *ripo\t.
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?
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i
4
1,
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n
&-&
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i^
lhr#
ft*
1
Rhythmical exercises.
Rhythmische Hbungen. Exercices rythmiques.
1
1 3-
^?
n
I
_i
During the rests the bow remains on the string. Wdhrend der Pmtsen wird der Bog-en auf der Saite behalten. Pendant les silences l'archet doit rester sur la corde.
_3
3_
^= rpnr
i
'
b ^ ^^
v *
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a m
k
*
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njn
Op.U.VIb
7b
4th Position.
4, Lage.
4me
Position.
l.
* # a & i a J
"
'
p
g--<9
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fr
rr,ffiff,ff,rr
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Rhythmical exercises.
Rkythmische Ubungen. Exerciees rythmiques.
11-
*8 Mi
IS.
5
3
r^
3
.
jg
l]
pg
i
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r
f
PP
i
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8
itf
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J^-^ rfFTPrf F f f f ^r
m
o
p
J.
rft
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79
Zagv?.
5me
Position.
a j *
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i
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m
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Rhythmical exercises.
Rhythmischc TJbungen. Exerciees rythmiques.
Sevcik.Op.U.VTh
EJ
Fr
TJ'jh'J3J3vlrrrr^
PS
rr
cr^
^Mrm si
1
3.
segue
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Mr *i^ SPP
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5
"
6me Position.
m
*S
10
1-
[.rrriBf pp
JJ-^^Vfff is
6.
rf?fft
5
6 th Position.
Lage,
s
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Rkythmische Ubungen. Exereices rythmiques.
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Rhythmische Ubungen. Exercices rythmiques.
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Rhythmische Vbungen. Exercices rytkmiques.
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41
Semi-tone and Tritone Gbmajor (2nd_7th Position). Scale of G\? major with rhythmic-
Demi-ton et Triton en Solb majeur (2me_7me Position). Gamme rythmique de Soil? majeur.
al changes.
2nd Position.
2. Lage.
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Rhythmical exercises.
Rhythmische Ubungen. Exercices rythmiques
Sevcik.Op.ll.VTb
12
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Lage.
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Rhythmische Ubungen. Exereices rythmiques ireices rythmiques.
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Rhythmische TJbungen. Exercices rythmi^ues.
o,
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Sine Position.
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Rhythmisehe Vbungen. Exercices rythmiques.
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Rhythmische Ubungen. Exercices rythmiques. in
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47
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Bhythmische Ubungen. Exercices rythmiques.
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Sevcik,Op.ll.VIb
Abreviations
et
Signes.
Bow
by means of fractions:
Whole Bow.
Half Bow.
First Half.
Ganzer Bogen.
I
i.
Halber Bogen.
Erste Hdlfte.
l l
Tout l'archet.
3
1.
Demi- archet.
Premiere moitie.
Seconde moitie.
3
3.
3
3.
Second
Half.
3
1
Zweite Halfte.
3
1
One Third.
Two
Thirds.
3
3
1.
Zwei
5 3
3
1.
Un
Deux
First Third.
3
3.
Erstes Drittel.
3
3.
Premier
Second Third.
Third Third.
3
3.
Zweites Drittel.
Drittes Drittel.
3
3.
Deuxieme
tiers.
3
.1
3
1
Troisieme tiers.
One Quarter.
Three Quarters.
I'
4
3
Ein
3 4
4
3
Un quart
3
s' |"
de l'archet.
4
1.
4
1.
I'
First
^rs ^es
4 4
-=-'
Bogens.
^p
Deuxieme
Tirez
troisieme quart.
n
V
Down -bow.
Up-bow.
1
)
n
V
Heruntersfrich
n
*)
Hin a ufstrich
Poussez. 1)
Broad Bow.
Short, detached (staccato),
Largement.
Bref, martele (staccato)
gehdmmert
(martele
hammered
"
(sautille;
)
(martele)
Springing, bounding,
spiccato; saltato).
)
"
Sautille (spiccato).
Lift Bow.
Bogen
7ieben.
Levez l'archet.
/
I
Kunstpause (Luftpause)
First String, E.
3
)
Kunstpause (Luftpause) 2)
Erste Saite, E.
/ I
Kunstpause (Luftpause) 2)
Premiere corde, Mi.
H
EI
Second String, A.
H
III
Zweite Saite, A.
Dritte Saite, D. Vierte
Suite, G. 3 )
n
ni
Deuxieme
corde, La.
Third String, D.
Fourth String,
G. 3 )
IV
o
IV
o
rv
o
Quatrieme corde,
Corde a vide.
Sol. 3 )
Open String.
Leere Saite.
Sul E,
l
Retenez
le le
The
little
finger
is to
Retenez
crochet.
M.
M.
Fr.
Milieu de l'archet.
At the Nut.
Am
An
FroscJi.
Fr.
Au
A
talon de l'archet.
Sp.
der Spitze.
Sp.
la pointe de l'archet.
1)
Unless otherwise indicated, the first measure begins at the nut. Lift Bow and make a brief rest. No practising should be done on strings
not true in the fifths.
*)
tfer-
)
3)
Ohne Bezeichnung- der fit'e/itung- begiuitt Anfangstakt iituner am Frosch. Bogen he6en und fcurze Pause tnachen.
Sat'ten soil nicht
!)
On
ment jusles.
CONTENTS OF
SCHOOL OF INTONATION
By
OTAKAR
OPUS
SEVGIK
II
ARRANGEMENT DES
MATIERES.
Partie I
".
III
1st
IV
1st
Position.,
IP
Part The rhythmic Major Scales from Parts Ila and lib. Pieces (1st position, Grade I) with piano. 2
"
Einfuhrung die erstt Lage. 1. Lage. Lage. Nebenbei Lage. vorzunehmen* Lage. *Abt. VDie rhyihmisierten DurTonleitern aus Abt. Ila und Vortragsstiicke Lage,
in
1.
lit
Jtt III
1.
"
1.
Matieres
IV
lib.
(1.
Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin to the 29 Duettinos from Parts I, Ila and lib.
Einfiihrung
in
die
2.-7.
Lage.
"
faires * talres Position. J *Partie Les Gammes majeures rythmiques des Parties Ila et lib. Compositions (Ire position, Degre I) avec piano. 2 Introduction a la 2me-7me Po-
Supplemen'
Ire
Dazu: Abt.
sovjie
lib, zvieite
III
und IV,
sition.
Matieres
supplemenIV;
"
"
2d-7th Position. 1 Q__i m . f , r _+ Via Supplementary VIb -2d-7th Position. J f40 Bohemian Melodies in the 2d-
Vil
31 iZ.
t+0
2.-7.
sen.
-*
Weisen
in
7th position.
"
der
Position. Su Position.]
L^ffe!* n
Vie VII
2d-7th
Position.
40
^^
'
Bohemian
:
Vic Ill
"
Vic
VII
VIII
2me-7me
2.-7.
sel).
Lage.D azu
in
Abt.
XII
{Einfuhrung
VIII
den Lagenwech-
position. Position. 40 Melodies Matieres supple mentaires: Parties Via et Vlb. 2me-7me Position. Matieres Partie XII Supplementaires:
la
2me-7me
bohemiennes.
VIII
"
"'
IX
"
XI
Positioa
-rl.-l. Lage.
Position.] Position. \ Supplementary! Position. J Part XIIThe 2d violin to the 40 Bohemian Melodies (Part Vic).
IX
X
XI
]
\
X
Dazu%
IX
XI
2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. taires. Partie XII Le second violon
]
f
(Introduction au demanche).
%Abt.
and
others.
'*
XII 8
2d-7th
XII Die zvieite Violinstimme aus den 40 bohmischen Weisen (Abt. Vic). W. A. Mozart, Sonaien fur Violine
u.
Klavier, Nr.
4, 7, u. a.
XII s
2me-7me
tion
des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc.
Position.
Introduc
XII'
"
XIII 1
Transitional
ing
Diatonic
III.
Tone used
in Shift-
XIII*
W Lagenverbindungston.
.
Lage.
Einfuhrung
in
Form durch 3 Oktaven. Dazu Konzertstudien Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstiicke aus der 3.'
:
Grade
"
Stufe.
XIV
SupCon-
XIV
Intonieren
der
Doppelgriffe.
and
Pieces
from
1
Matieres au demanche. supplementaires: W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc. 4 XIII Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires t u d e s de Concert: Rode, Concert No. 6; Viotti, Concert No. 23; compositions du degre III. XIV Intonation des doubles cordes. Matieres supplementaires: Continuation des Etudes de Concert et compositions des degres III et IV.
Da
mann
be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
Parts.
-
It is of great
play
frequently
The
difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intonation, proper crescendos and decres-
cendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompani* * ment. 3 To be studied concurrently with Parts Via, VIb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, and XI.
schviellen
den Anfdnger zum reinen Intonieren, zum Anund Absckivdcken, zum Akzentuieren der Tone. Er viird geradezu gezvmngen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb kann man schon neben Abt. IIIV entsprechend leichtere Heine Stiiche mit Klavier vornehmen.
3
1 Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ila et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes. 2 Pour le commencant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de 1'accompagnement, tout cela conduit, et meme entraine l'eleve a une intonation juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tous ces details le forcent a cultiver une belle sonorite Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer l'etude de pieces faciles avec piano conjointement aux exercices des Parties II-IV.
Neben Abt. Via, VIb, Vic und VII vorzuNeben Abt. Pill, IX,
nehmen,
4
und XI vorzunehmen.
3 A etudier conjointement aux Parties Via, VIb, Vie, VII. 4 A etudier conjointement aux Parties VIII, IX, X, XI.
On an Harmonic
for
Basis
Violin
in
SV PARTS
by
afcar
OR 11
Contents of
ELEMENTARY STUDIES
FROM THE 2nd TO THE 7th POSITION
PART
Gb
,
Book
II.
PART
V:
INTRODUCTION TO THE
to
VIb
The
Semi-tone
and
,
Tritone in
POSITIONS (2nd
Fingers
sion
Ab
E,
Db
B and
m\
on one
String.
of Five Tones.
String to
vals relative to
Exercises.
PART VI a
,
The
Semi-tone
and
Tritone
in
Bb
and
for Interpretation,
Eb with 374
Rhythmical Exercises.
and Bowing.
HARMS,
Incorporated
0^/1
/J
/J-2.3-
/7^3-
PART
for
Vic.
ABTEILUNG
VIQ.
PARTIE
VI2.
Forty Duettinos
(Bohemian Melodies)
Violins as Studies for Position and Interpretation, with a Discussion on Vibrato.
Interpretation.
Yierzig- Duettinen
Quarante Duettinos
(Melodies bohemiennes)
Two
comme Etudes
Vom Vortrag. Das Sprechen ware sehr monoton,geradezu unverstandlich, wenn alle Wor.
te in
De
l'Interpretation.
Un
meme
were enunciated
It is
in the
same
pitch,
meme
ton,
convey
hearer whe-
heben gewisser Akzente, hergesagt warden. Oerade das Zunehmen und Abnehmen der Stimme, die stdrkere oder schw'dchere Betonung der einzelnen Worte und Silben, lassen den
sans l'appui de certains accents. Ce sont l'intonation de lavoix, l'accentuation plus on moins forte des
mots
voir
sa
gry or calm.
ou
triste,
emu ou ealme.
The
little
im-
l'effet
si
sa declamareci-
As
in language, so
it is
in
music.
s'ap-
both.
of the
delight
ment
les nuances-
dynamiques donl'autre.
of music is not an arbitrary matter, and in this art, as well as in Ian guage, we are subject to certain esthetic principles which cannot be dis-
Plus l'executant joue avec expression, plus il transportera ses auditeurs, et vica versa. Cependant, l'expression dans l'interpretatiori. de la musique n'est pas arbitraire; et dans cet art, comme dans le langage, on est soumis aux principes de l'esthetique que l'on ne peut pas
eluder.
regarded.
Accent
{<,fp-*fz).
of
lutely
er's,
the
dancer's, conscious-
ness the succession of the individual measures. This is attained by accenting the beginning of each measure. Thus we have an alternation of ac-
Der Akzent (<,//>,/*.). Bei Ausfiihrung eines Musikstukkes beliebiger Art, auch des Tanzes, ist es unbedingt notig dem Horer, beziehungsweise dem Tanzer, die Folge der einzelnen Takte deutlich zum Bewusstsein zu bringen. Dieses erreicht man durch Beto nung de$ Anfanges jedes einzelnen
Taktes. Dadurch entstehen betonte
De
l'Accent(=,73o,^.
En
une danse,
l'auditeur,
respectivement le danseur, ait conscience de la succes siondes mesures. Cela se fait en ap-
se-
cond beat the unstressed (arsis). In'% measure the unstressed beats fall upon the second and third quarter.
oder schwere, und nicht betonte oder leichte, Taktteile. Im%Takt ist das erste Yiertel der schwere Taktteil (Thesis), das zweite Viertel der leichte (Arsis). Im
puyant sur le commencement de chaque mesure. D'ici resulte une alternation de temps plus marques ou forts, et de temps moins marques ou faibles.
Dans
la
mesure a 24
la premiere
%
le
Takt fallen die leichten Taktteiauf das zweite und dritte Vier-
deuxieme le temps faible (arsis). Dans la mesure a % les temps faibles se trouvent sur la deuxieme
et la troisieme noire.
tel.
Sevcik,Op.ll.VIP
oompound measures the relaremains the same. ln\ measure the first and third quarter are the stressed beats, the second and
In
tion
In zusammengesetzten Taktar
ten bleibt das Verhdltnis dasselbe
Im
te
te Viertel die
meas-
Taktteile-,
% Takt werden
das
to
be remarked, how.
erste
und
compound measmiddle
of
somewhat weak-
In groups of triplets
and six
1st zu bemerken, dass in diesen zuzammengesetzten Taktarten der Akzent in der Mitte des Taktes stets etwas schwacher ist als am Anfang. In Triolen- und Sechzehntelbewe-
gung mussen,
table:
neren Oruppen hervorgehoben werden, wie aus folgender Tabette ersichtlich ist:
Dans^les mesures composees l'eehoses reste le meme.Dans la mesure a la premiere et la troisieme noire sont les temps forts, la deuxieme et la quatrieme les temps faibles. Dans la mesure a % on appuiesur la premiere et la quatrieme croche. Mais il est a observer, que dans ces mesures composees l'accent au milieu de la mesure est toujours unpeumoins fort que celui qui setrouve au commencement. Dans le cas des triolets et des doubles croches on doit faire ressortir, outre les temps forts, aussi les divers petits groupes,comme le montre la table qui suit:
tat des
% Takt:
mesure a 74
%. time-.
3/4
time:
J
=T
J
1
J
,
J 3 J"3 JT3
m
J
%Takt:
mesure a
J~3"3
JT3 JT3
4/4
time:
r~3
>
mmmm
J~~3
<T~3
m
>
%.time: Takt:
mesure a
rrrm
j
j j j j
J"
"3
r=r~r=T~r=?
j
>
>
j j
j j
....
JJJJJJJJJJJJJJJJJJJJJJJJ
Ausnahmen.
1
Exceptions
J
.
mesure a
% Takt: 4
4/4
time:
J
I y
J
-J
y
/4
time:
<=J
3/4
Takt:
a,
=T
_
/4
I
J>
mesure
?~3
-h
J~3
J> ji
J)
r 7
J J
J)
y
J
*
h J)
"
J)
-h J
j
Ji
n
j
J~3
-T3
rfi r~2
J^J~2
-h
j
j
J3.T3
m mm?
n
J~2
J~3~3
^~~3
'Sevcik,Op.ll.VI?
The accentuation
of the unstres-
sed beats depends upon the character of the musical phrase. In syn-
Die Betonung der leichten Takt telle hdngt vom Charakt&r der Mu-
sikphrase
ab.
bindung eines
leichten Taktteilesmit
sed and stressed beat; see Table, Exceptions) the beginning, in other words, the unstressed beat is to
be accented (See Nos.35, 36). If
the stressed beat
is
einem schweren-, siehe Tabette, Ausnahmen) ist der Anfang der Sy?ikope, alsrr der leichte Taktteil,
L'aceentuation des temps faibles. depend du caractere de la phrase musicale. Dans le cas des syncopes (prolongation d'un temps faible sur un temps fort; voir la table, Exceptions) on appuie sur le commencement de
la syncope, c'est a dire, sur le temps
zu
be-
tonen
Si le
followed by a
is
dem schweren
temps
usually
accented (See Nos.12,31,32). In some dances in 3/4 time the principal accent is on the third beat.
too
When play-
strings;
zu werden (Siehe No. 12,31, 32). Im Takt fallt bei manchen Tdnzen der Hauptakzent auf den dritten Schlag. (Siehe No. 17 und so). Die Akzente sollen nie zu he/tig und storend setn. Impiano sind dieselben entsprechend schwacher als im forte, jedoch stets mit geniigender Bestimmtheit, auszufuhren. Akzente auf Noten von kurzer Bauer werden mit dem Druckdes Bogens auf die Saite gebildet, Akzente auf Noten von langerer Bauer oft nur durch rascheres Ausfuhren des Bogens.
nos.12,31,32). Plusieures
danses
dans la mesure a
etie
le
piano
il
moms
Un
mouvement
fit
the
bow more
rapidly.
Augmentation
~~I
'
',
et Diminution du Son.
crescendo, decrescendo,
diminuendo, morendo).
sion
are generally played crescendo, in a descending melody, on the other hand, decrescendo.
short suc-
cession of tones
is
executed with
But
ed,
if
the melody
if it
and
Anschwellen und das Abnehmen des Tones. BeiaufsteigenderMelodie werden die einzelnen Tone in der Regel crescendo gespielt, bei absteigender Melodie, dagegen, decrescendo. Tonfolgen von geringem Umfang werden nur mit leichter dynamischer Schattierung ausgefuhrt. Ist aber der Umfang ein grosserer, und bewegt sich die Melodie in verschie-
l'augmentation et la
diminution du son.
En
general, dans
une melodie montante on joue les sons individuels avec crescendo, dans une melodie descendante, au eontraire, avec decrescendo. En executant une melodie de petite etendue on n'emploie que des nuances
legeres.
Mais
si
necessary.
When
a theme
is to
be repeated
it is, for the sake of contrast, rendered louder the first time, and softer the second time.
denen Intervatten, so ist ein starkeres Anschwellen und Abnehmen des Tones erforderlich. Bei Wiederholung eines Themas wird es, des Kontrastes wegen, das erste Mai starker, das zweite Mai schwacher ausgefuhrt.
Dans le cas de repetition d'un theme on le joue, pour le contraste, un peu plus fort la premiere fois.
II faut faire
cesser de sonner a-
d'un
note
Im Diminuendo
decrescendo.
quietly.
Dans
namic shadings have been indicated everywhere, and must be observed carefully.
Sevcik,0p. ll.VI?
nuances dynamiques ont ete indiquees partout, et doivent etre suivies avec soin.
und miissen
ge-
By
an
the
instinctive tendency to make same motions. Only constant practice renders them independent.
Bewegungen
zu machen. Nur durch anhaltende Ubung werden sie selbststdndig. Auch beim Geigen zeigt die
eine
pendantes.
Also
other.
II
en est de
meme pour
le violon:
influence the
Hand
spiel,
eine
Neigung
die andere zu
For instance,
one
plays
chaque main est tentee de faire ce que l'autre fait. Par exeniple, si
l'on joue
hand cease
pressing
Hand
les doigts de la
main gauche
ceset,
And
vice
versa:
zu druckenyimd
the
the
umgekehrt: je mehr man bei schweren Griffen mit den Fingern auf
die Saiten presst, desio
mehr wird
bow and
it
et
plus on
le
Thus
happens that a
kommt
-
dass der Geiger oft stunden lang ubt, ohne ein piano anzu
dant des heures sans se servir d'un piano. Cette maniere de jouer incessamment avec raideur, sans
le
arm.
den rechteti
Arm
vouloir ni
le savoir,
nuit beau
When
En
nique
the
Einuben technischer Sachen immer mit weichem, nicht gepresstem Ton zu spielen, viel Bogen zu gebraucheti und die dynamischen Zeichen zu beaehten. Sind solche nicht angegeben, so sollten die Ubungen wechselweise forte und piano ausgefiihrt werden.
du violoavec
un ton doux
et souple, d'employer
et
beaucoup d'archet
de faire atten-
Au
cas
oil il
dedi-
SevcikjOp.ll.VI?
THE TREMOLANDO
(Vibrato, Tremolo).
VOM TREMOLANDO
(Vibrato, Tremolo).
LE TREMOLANDO
(Vibrato, Tremolo).
Every beginner
about the
vibrato,
is
enthusiastic
and even at an early stage of his studies he makes secret attempts. Prohibition on the part of the teacher is of no avail; therefore it seems advisable to explain even now to the budding viothe matter of the tremolo. In order to be able to vibrate with the finger placed on the string one must raise the other fingers. But this is contrary to the general prelinist
Jeder Anfdnger schw'drmt furs Vibrato, und schon friih stellt er im Geheimen eigene ersuche damit an. Verbote des Lehrers helfen nichts, und es scheint deshalb ratsam, dem angehenden Geiger das Tremolieren schon hier zu erkldren. mit dem aufgesetzten Finger vibrieren zu konnen, hebt man die anderen Finger auf. Dieses ist aber gegen die allgemeine Regel des Vio-
Um
Chaque commencant est tres enthousiaste pour le vibrato, et presque des les debuts il fait des essais a la derobee. L'interdiction du maitre est inutile, et par cette raison le meilleur parti serait d'expliquer le tremolo avant de continuer.
Pour faire vibrer le doigt place il faut lever les autres doigts. Mais en faisant cela Ton enfreint la regie generate qui exige que les doigts restent sur la corde aussi longtemps
Ainsi aux diverses positions et avec divers doigtes les doigts se familiarisent avec l'ecartement juste entre eux.
le
cept of violin-playing, which requires the fingers to remain on the string as long as possible. Thus, in the various positions and with different fingering the fingers become accustomed to the corresponding distance of one from the other. The tremolo is very alluring. When the eager desire of the beginner is fulfilled, and he succeeds in producing a tremolo no matter, whether good or bad it may confidently be expected that he will apply the vibrato as often as possible. In the case of young violinists the tremolo is not so much the result of a real desire for expression, as rather a welcome means for covering up mistakes in intonation. The finger is placed haphazard, usually not in the right place, but somewhere near the respective tone, and little heed is given to intonation on the entirely erroneous assumption, that vigorous vibrations of the string will cause the correct tone to be sounded also. In time the tremolo becomes more frequent and intense, and finally it degenerates into a habit. Not only quarter-notes, but also eighths and sixteenths, in short, everything is played with tremolo. Imagine the effect of such an unsteady, indistinct scale or passage Just as in the case of a singer early, thoughtless use of the tremolo causes weakness of the vocal cords, so in the case of a violinist excessive use of the tremolo causes weakness of the fingers and muscles. On merely touching the finger-board the hand trembles, even before playing has been begun. If such a violinist should attempt not to use the tremolo, he would be horrified at the discovery that he is no longer able to produce a semitone, a tone, a double-stop with correct intonation.
linspiels, ivelche dahin lautet, dass die Finger moglichst lange auf der Saite liegen bleiben sollen. Auf diese Weise gewohnen sick die Fin-
que possible.
ger in den verschiedenen Lagen und bei verschiedenen Griffen an die entsprechende Entfernung des einen
vom
tend.
anderen.
Das Tremolieren
Wenn
in
Anfangers
das Tremolieren ihm gelingt einerlei, ob gut oder schlecht, so ist es unausbleiblich, dass er das Vibrato moglichst oft anwenden <wird. Das Vibrieren bei jungen Geigern ist nicht so sehr Folge wirklichen Gefuhlsdranges, als vielmehr ein willkommenes Mittel die Intonationsfehler zu vertuschen. Der Finger wird aufs Geratewohl, gewohnlich nicht auf der richtigen Stelle, sondern irgendwo in der Nahe des betref) enden Tones, aufgesetzt, und der Spieler kiimmert sich nicht writer um die Intonation, in der ganz falschen Voraussetzung, dass bei starkem Vibrieren der richtige Ton
est tres seduisant. Si desir ardent du commengant s'accomplit, et s'il parvient a produire
qu'il
Le tremolo
Dans
debordement de
l'expression artistique; c'est plutot un moyen fort a propos pour cacher des fautes d'intonation. On place le doigt par hasard, le plus souvent pas
au
lieu
ou
il
le faut,
mais quelque
part pres du son respectif, et le joueur ne se soucie guere de l'intonation dans la fausse supposition que la vibration forte f era sonner le son
juste aussi.
Avec
le
temps le tremolo
auch mitklingt.
das Vibrieren
intensiver,
devient plus frequent et plus fort, et on finit par en faire une habitude.
On
les
emploie
le
und schliesslich artet es in Gewohnheit aus. Nicht nur Viertelnoten, sondern auch Achtel und Sechzehntel, kurzum, alles wird tremoliert. Wie klingt dann solch eine unstdte, verwischte Tonleiter oder
mais aUssi sur croches et les doubles croches; bref Ton s'en sert partout. Figurezvous l'effet d'une gamme ou d'un passage tellement inquiet et conles noires,
,
ment sur
fondu
Precisement
Passage? Geradeso wie das fruhzeitige, unbesonnene Vibrieren bei dem unvorsichtigen Sanger Stimmbanderschwache verursacht, so erzeugt
comme
le
tremble-
ment precoce
et irreflechi
du chan-
teur developpe une faiblesse des cordes vocales, le tremolo excessif du violoniste produit une faiblesse des doigts et des muscles. Au seul contact avec le manche la main
Hand, ehe
noch das Spiel begonnen hat. Wenn ein solcher Geiger versuchen wollte nicht zu tremolieren, so w'urde er mit Schrecken wahrnehmen, dass er keinen Halbton, keinen Ganzton, keinen Doppelgriff rein greift.
tremble deja, avant que Ton ait commence a jouer. Si un tel violoniste essayait de jouer sans employer le tremolo, il serait saisi de frayeur en se trouvant hors d'etat de produire avec justesse un demi-ton, un ton ou une double corde.
Excessive use of the tremolo injures seriously not only the technic of the left hand, but also the manipulation of the bow and the tone-production. All shadings and accents of a musical phrase are executed by means of the bow. In fact, it is only the bow that produces the tone and makes the playing expressive. heavy tremolo tempts the performer to play everything forte. Gradually the right arm loses its necessary repose, playing piano becomes irksome, and the sense for the finer shadings becomes dulled. Instead of producing a crescendo and accents by means of the bow, recourse is had to an increased vibrato; and the more marked the accent, the more pronounced the twitching of arm
Uebermdssiges Vibrieren ist nicht nur fur die Technik der linken Hand, sondern auch fur Bogenfuhrung und Tonbildung hochst nachteilig. Alle NiianCen und Akzente der musikalischen Phrase iverden mit dem Bogen ausgefuhrt, denn gerade mittels des Bogens wird der
gebildet und das Spiel beseelt. Starkes Tremolo verleitet den Spieler alles forte zu spielen. Nach und nach verliert der rechte Arm die nohge Ruhe, das Spielen im piano wird unbequem, und der Sinn fur die feineren Schattierungen wird abgestumpft. Crescendo und Akzente werden, ansiatt mit dem Bogen, durch gesteigertes Vibrato ausgefuhrt; und je starker der Akzent, desto mehr zucken Arm und Finger. Und schliesslich, wie ist bei solchen Mdngeln und schlechten Gewohnheiten ein voller, runder lich?
Le tremolo excessif nuit beaucoup non seulement a la technique de la main gauche, mais aussi au maniement de l'archet et a la formation du son. Toutes les nuances et tous
les
Ton
forme
le
son et donne
excessif
l'expression.
Le tremolo
porte le joueur a jouer tout dans le forte. Peu a peu le bras droit perd le repos indispensable, l'execution dans le piano devient incommode, et
le
gout pour
les
nuances delicates
lieu
s'affaiblit.
Au
d'executer le
on
les
les
produit au
and
fingers.
how
is it
pos-
produce a
full,
round tone?
Ton mog-
more
so
when
facing an audience.
Anhaltend aufgeregtes Spiel wirkt auch schadlich auf die erven des Geigers, und er wird nervbs, nicht nur beim Ueben, sondern noch mehr vor Zuhorern.
mouvements du bras et des doigts deviennent brusques. Avec tous ces defauts et toutes ces mauvaises habitudes, comment peut-on produire un son sqnore et plein?
Le
teinte
finira
EMPLOYMENT OF THE
VIBRATO.
vibrato lends to the tone of the violin a melancholy quality and particular charm. For this reason
ment en
teurs.
Vibrato.
verleiht
dem Geigenund
The
melancholische
Fdrbung
applied frequently. violinists, as well as the greater part of the public, regard the vibrato as the Alpha and Omega nervous of musical expression. world has become too much accustomed to this means of expression. It is demanded, and, consequently, the violinist is compelled to reckon
it is
Many
sinnlichen Reiz, und findet deshalb haufige Anwendung. Viele Geiger, sowie der grossere Teil des Publikums, betrachten das Vibrato als das Alpha und Omega des Gefuhlsausdrucks. Die nervose Welt hat sich zu sehr an dieses Ausdrucksmittel gewohnt. Man verlangt es, und der Geiger ist somit genotigt, diesem Verlangen Rechnung zu tragen. Das Tremolando verfehlt }ede
L'EMPLOI DU VIBRATO.
vibrato donne au son du violon un coloris melancolique et un charme particulier, et pour cela on
Le
l'emploie frequemment.
Beaucoup de
part des
vibrato
violonistes et la plu-
auditeurs
regardent
le
comme
l'alpha et l'omega de
l'expression.
s'est trop
The
Wirkung, wenn es entweder zu und meckernd oder zu langsam und weinerlich ausgefuhrt wird.
schnell
d'expression.
loniste doit
On le desire,
tenir compte.
et le vio-
Meckernd
steifem
klingt
es,
wenn
es
mit
Le tremolando manque
d'effet si
krampfhaft gespanntem
Arm und
zitternd gemacht wird; weinerlich klingt es, wenn man es mit zu langsamen Stossen des losen Handgelenkes hervorbringt.
Handgelenk
wrist.
on l'execute trop vite (chevrotant) ou trop lentement (larmoyant). L'execution au ,moyen du bras cramponne et du poignet raide produit l'eff et chevrotant les coups d'archet trop trainants du poignet
;
Before attempting the tremolo on the violin itself, the following preparatory exercise should be practised Instead of the neck of the violin place any finger of the right hand between the points of the thumb and index-finger of the left hand. Then, with slight pressure, move the epidermis of the finger rapidly up and down, taking care
:
das Tremolieren auf der versucht, mache man or'ubung ohne Inzuerst folgende strument: Anstatt des Geigenhalses lege man beliebigen Finger der rechten Hand zwiscken die Fingerspitzen des Daumens und Zeigefingers der linken Hand, und bewege,
Ehe man
lache produisent
le
l'effet
larmoyant.
Geige
selbst
leickt
druckend, die
Haut
und
ab,
not to disturb the position of the The movement thus imparted to the left lower arm and hand is the same as that employed in producing the vibrato on the violin. The same exercise should then be practised with the 2d, 3d, 4th finger and thumb also with the tips of two fingers and the thumb: with the lst-2d, 2d-3d, 3d-4th, lst4th finger and thumb. After these experiments the following exercises are to be studied on the violin. In order to secure a smooth execution, it is necessary to see to it that the finger placed on the string does not touch the neck of the instrument. The neck, if it is of normal thickness, rests against the first joint of the thumb if it is thinner, against the second joint of the extended thumb. The extended thumb must shift as far as the other
finger-tips.
;
;
beiden Fingerspitzen zu verschieben. auf solche Art verursachte Bewegung des linken Unterarms und der Hand ist dieselbe wie bei dem auf der Geige erzeugten Vibrato. Dieselbe Uebung versuche man alsdann mit dem 2., 3., 4. Finger und Daumen; auch mit den Spitzen zweier Finger und des Daumens: mit 1.-2., 2.-3., 3.-4., 1.-4. Finger
Die
und Daumen.
Nach diesen Versuchen nehme man auf der Violine die folgenden
Uebungen vor. dieselben glatt aitsfuhren zu kbnnen, muss man darauf achten, dass der aufgesetzte Finger mit seiner Wurzel den Geigenhals nicht beruhrt. Der Hals
Um
am
bei
ruht dabei
wenn
er
normal dick
ist
Gelenkgliede
des
Daumens.
Mit dem
ausgestreckten ausgestreckten
Daumen
Daumens
fingers.
1.
wie mit den anderen Fingern. 1. Ruckung der Finger und des
innerhalb des Intervalls der grossen Sekunde:
touche pas au manche. Celui-ci, s'il a l'epaisseur normale, repose contre la premiere phalange du pouce; dans le cas de moindre epaisseur, contre la deuxieme phalange du pouce etendu. Le pouce etendu doit glisser aussi bien que les autres doigts. 1. Glissement des doigts et du pouce dans l'intervalle de la seconde majeure
2.
Exercise for the Vibrato in 3. the First Position. In the first measure neither the
3.
V ibrato-TJ ebung
ersten
in
der ersten
3.
Exercice pour
la
le Vibrato
a fa
faut
Lage.
Ire Position.
Im
Takt
soil
Dans
premiere mesure
il
8
first
mains extended,
case of the square notes the first finger is slightly inclined toward the upper semitone, for which reason the tone produced will sound a trifle sharp. In the third measure the vibrato is to be executed as in the preliminary exercise without violin.
Finger nock mil dem Daumen, der ausyestreckt bleibt, yeriickt werden. Nur der erste Finger neiyi sick bei den viereckigen Noten ein wenig gegen den oberen Halbton, wodurch der gegriffene Ton etwas hbher erklingt. Im dritten Takt wird das Vibrato so atisgefuhrt, <wie in der V orubung ohne Geige.
ersten
prendre garde a ne pas remuer ni le premier doigt ni le pouce. Celui-ci reste etendu. En jouant les notes carrees le premier doigt s'incline un peu vers le demi-ton superieur. De cette maniere le son se fait entendre un peu trop haut. Dans la troisieme mesure le vibrato doit etre execute de la meme maniere que dans l'exercice prealable sans violon.
^W fT
C
8
_*jr
8
*~.
=~.
~~*
-#^*^t%L^-
nTTffrftff|ff #
V&m**
SI
4.
^igJ|bJJJoJJiJJ
|
-JJ||j^j^y^^ijjijj
Exercice pour
Position.
le Vibrato
||
4. Exercise for the Vibrato in the Third Position. Beginning with the third position it becomes necessary to support the left hand against the ribs and edge of the belly ( + ). .However, when the vibrato is employed in the higher positions the hand must be held away from the violin, so as not to shake the instrument (*).
Vibrato-U ebung
dritten die linke
in
der dritten
ist
4.
a la
Lage.
Von der
geboten
3me
Lage an
es
Hand
an
die
Aber bei Anwendung des Vibrato in den h'oheren Lagen soil die Hand von der Violine
zu stutzen
(
+ ).
Des la 3me position il faut tenir la main gauche contre les eclisses et + le bord de la table ( ). Mais en employant le vibrato aux positions superieures la main doit etre eloignee du violon, afin de ne pas secouer l'instrument (*).
beautiful
vibrato,
when emist
ployed with taste and not too frequently, produces a charming effect. It may be applied in a sustained melody on tones of longer duration,
desired to emphasize or accentuate them or impart to them a sentimental or pathetic shading.
if it is
Gut, und nicht zu oft, angebracht, ein schbnes Vibrato von reizender
Es kann angewendet Wirkung. werden in getragener Melodie auf Tbnen von langerer Dauer, welche hervorzuheben oder zu akzentuieren
sind
tische
The
vibrato
(~~~)
may be
tried in
und sentimentale oder patheFarbung erhalten sollen. In Nr. 16, 19, 22, 27, 30 und 35 deryorliegenden Duettinen kann das Vibrato (vv*vk ) versucht werden. Auch beim Vibrato, wie bei alien dynamischen Zeichen, gibt es AbstuManchmal genugt ein fungen. Vibrato von wcnigen Schwingungen, in anderen Fallen ist anhaltenderes oder heftigeres Vibrieren erforderlich.
Nos. 16, 19, 22, 27, 30 and 35 of the following Duettinos. As in the case of all dynamic signs, so there are degrees of the vibrato. At times a vibrato of few oscillations suffices; at other times more continuous or more violent vibrations are required. When a tremolo is produced the
die Geige
Un beau vibrato, applique avec gout et pas trop souvent, produit un effet charmant. On peut l'employer dans une melodie soutenue sur les notes de grande duree, lesquelles on veut accentuer ou f aire ressortir, ou auxquelles on desire donner une nuance sentimentale ou pathetique. On peut faire l'essai du vibrato{*~~*} dans les duettinos Nos. 16, 19, 22, 27, 30 et 35. Comme dans le cas de tous les signes dynamiques, il y a aussi des gradations du vibrato. Quelquefois un vibrato de peu d'oscillations suffit; en d'autres cas il faudra un tremblement plus continu ou fort. En executant le tremolo il faut
violin
must not shake. Otherwise the tone-production would suffer; also, the right arm would not be capable of managing the bow with the necessary repose. In the case of high notes the tremolo should never be applied, because in the high positions the measurements are so close that a vibrato would resemble a badly executed trill.
nicht schwanken, we'll sonst die Tonbildung beeintrachtigt <wiirde, und der rechte Arm nicht im Stande ware den Bogen mit der notigen Ruhe zu
prendre garde d'ebranler le violon. Cela nuirait a la formation du son aussi le bras droit ne serait pas en etat de manier l'archet avec le repos
necessaire. On devrait eviter le tremolo sur des sons aigus, vu qu'aux positions
fuhren.
nicht
Mensur
den hohen Lagen so eng ist, dass ein Vibrato hier einem hasslichen Triller, gar einem Bockstriller,
gleicht.
superieures les
ment
doigts sont teneserres qu'un vibrato ici sonnerait comme un trille mal execute,
meme comme un
chevrotement.
10
40
Duettinos
40
Duettinen
,40 Duettinos
(Melodies bohemiennes)
(Bolimische Weisen)
in der 2.-7.
Lage
fur 2 Violinen
als Vortrags-
comme Etudes
des Positions
et
d'
Interpretation,
Bowing.
genstudien
du Coup dArchet.
(Supplement to PartsVia
& VI b
).
Passages not exceeding the compass of the 1st position may also be practised
in this position.
Umfang der
1.
Lage
nic/it iiberschreiteit^kdnnen
aiivh in se-
Passages ne depassant pas l'et endue de la leIe position peuvent etre travailles aussi dans cette position
L'eleve doit etudier aussi le second violon.
Der
2nd Position.
2. Lage.
2e Position.
Allegro moderato.
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en descendant:
time.
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17
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21
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22
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26
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Sevcik Op.ll.Vie
29
5th Position.
Allegretto.
5.
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iii
6th Position.
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2nd Position
2. Lage.
2 me Position.
31
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Sevcik Op.ll.VIo
32
3rd Position.
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3?e Position.
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Sevcik Op.ll.Vie
34
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.
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Sevcik Ob.ii.VIc
Abreviations
et
Signes.
Bow by means
1
i
of fractions:
Whole Bow.
Half Bow.
First Half.
Ganzer Bogen.
Tout l'archet.
8
1.
l 2
1.
Halber Bogen.
Erste Hdlfte.
Demi- arehet.
Premiere moitie.
2
3.
3
3.
3
1
3
Second
Half.
3
1
Zweite
H'dlfte.
Seconde moitie.
One Third.
Ein Drittel
des Bogens.
Un
tiers de l'archet.
3
3
1.
Two
Thirds.
3
3
1.
Zwei
Deux
tiers de l'archet.
tiers.
3
2.
Firfet Third.
3
3.
Erstes Drittel.
Premier
3
3.
Second Third.
Third Third.
3
3.
Zweites Drittel.
Drittes Drittel.
3.
Deuxieme
3
l
tiers.
3
1
Troisieme tiers.
4
3
One Quarter.
Three Quarters.
5-
Ein
4
3
Un quart
3
4
de l'archet.
4
1-
3 4
|"
'
'
4
1.
4 4
-
pj rs t
\\
Bogens.
3. 3
^jp
Deuxieme
Tirez
H
V
n
V
-.
Up-bow.
1
)
Poussez. 1)
Broad Bow.
Short, detached (staccato),
(martele).
Largement.
Bref, martele (staccato).
hammered
"
(sautille;
)
Springing, bounding,
spiceato; saltato).
"
(sautille';
"
Sautille (spiceato).
Lift Bow.
Bogen heben.
Kunstpause (Luftpause)^)
Erste Saite, E.
Zweite
Saite, A.
Levez l'archet.
/
I
Kunstpause (Luftpause)
First String, E.
2
)
I I
/ I
Kunstpause (Luftpause) s)
Premiere corde, Mi.
II
Second String, A.
Third String, D.
Fourth String,
G. 3 )
H
HI
H
HI
3
)
HI
Dritte Saite, D.
TV
o
IV Vterte Saite, G.
o
IV
o
3
)
Open String.
Leere Saite.
Aitf der E-Saite.
Sul E,
l
Sul Mi,_Sur
1
mi.
The
little
finger
is
M.
ir.
oochet.
M.
Fr.
M.
Fr.
Mlieu de l'archet.
Ai talon de l'archet.
At the Nut.
Am. Frosch.
Sp.
An
der Spitze.
Sp.
a pointe de l'archet.
1)
*)
')
O/ine Bezeichnung der Ric/ttung deg-i'lnt der Atifangstakt iwtner am Frosch. Bogen heden und kurze Pause >nachen
commence
silence.
pnmiere mesure
an talon.
")
Levezl'archet en faisant
un bref
')
On
ment
Music Department
The Date Due Card
in the pocket indi-
which
this
to the Library.
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