3

Scale-Studies.

J. Hfimaly.

o Major. Long drawn out, with full tone, and change the bow without a break. 4

~:o~ratj IgJIJJ IrF leF IEL Irfl'·1

mf

4 4

~ r f I' Lie r IE F IJ J IJ d Ij J 10· II

A Minor. As above.

~:odjatj 10J IJ#d I~j IrF leG l-e5': I'·

mf

4 r qr I ~r r I r r I J j I J ;j I J j I J J I J • !II

F Major. The pZ'ano must be soft but clear.
4~ Largo. 0 0 e-
I I 0 it I
., e II
il 0 it
11
~~ il ~ 0
I 0 II I 0 :11
I' 0 it
0 It D Minor. An even forte throughout. The tone strong, but not pressed.

~ Largo.

=: ~ I~ 1 I I ,,_0 1 I" I 0

" 1 0

o

o 00.

1 ~

" 1 e 1 e" I ~ 1 " 1 0

" 1 0

o

:11

17636

Pr1nted 1n the U. S. A.

4

B~ Major. Have no break between the /orttl and piano.

Adagio.

4W I J. 1 J. 1 l 1 J. 1 ;. 1 J, 1 ;0 1 r' 1 r 1 f 1

I . .

4t fir 1 J' 'I r 1 S· 1 - 1 5· 1 r 1 fir 1 J' I

4~ r 1 fir· ,I 1" 1 J, 1 II J. 1 J- 1 J. 1 J. ;J

G Minor. As above.

. Adagio. .

'~I J. 1 J. 1 J. 1 J. 1 l 1 -U' 1 ~' 1 J 0 I ;' 1 r' 1 r 1

1.' I

4~ r 1 r 1 t 1 r 1 r 1 r 1 r 1 r 1 -r 1 t· 1 r' I

4~ r 1 r' 1 ;' 1 J. 1 ,: 1 J. 1 j. 1 J. I J- 1 J. 1 J. t

B~ Major. Give the up-bow as much accent as the down-bow. .

.~ Andante. ~ ::> :> :> :> :::::.. ~.

~" J. I J, 1 .J. 1 J. I 2" I F' 1 r I F' 1 fir· 1 E I

mf> ::> ::> ::>

o Minor. As above.

~ Andante,' >- ~ >- > >. >.

Vi g 1. 1 J. 1 J. 1 do I t· I §!, I .r' 1 2" 1 r· 1 E·I r 1 r 1

flU::> ::> ::> .

, ~f "':-. >- , > > >- > J

to = 1 t 1 r 1 r· 1 r- 1 F' 1 ~'I bi. 1 J 0 1 J. 1 J. 1 J 1 J t

. . :> ::>::> • •

. :> :::.. :::..

t781e

A~ Major. (Count two.) The quarter -note light and short, almost like an eighth.

-J I Alla breve.:=> :=> :£ :=> :=>. ~ .

, IJ1f ~ 1. 4 I J 4 I J. 4 I i 4 1 r' F 1 rr r 1 r ~ I

::::>

~ I e_. . :=> .:=> :::.. :::.. ::::> :::..

I?~ f ~ I rr r 1ft I r' 4 I J. ~ I J I II I

- - - - - - - - - ;: ;.' 4 'J. 4 ::: i -

F Minor. As above.
AHa breve. :=>
~ ~b~ 1 :> :> :> r· r
Ie J I J. I r· a' I er· r I
r r
:=> :>
~ r· f kf· ::::> :>
~* I r· r I ~. I r· I J. W :11 J I
r r , -
I D~ Major. The quarter-note almost like an eighth.

AlIa breve. ::::>:>:::..

_~ d'V~ ~ 4 i I 4 l: I 4 r' 1 F r I F rr

::::>

1 t r

~ @~ t f' 1 t f' 1 t r 1 J 1 1 4 r 1 4 i :11 j · I

Bb Minor. As above.

:::..

i Alia breve. :0> :0> :0> :0>. ">; q' ~.

,M ~ J 1. 1 J J. 14 _J. 1 ij4 r' I t r 1 r r 1 r T I

. :>

-J. ~ ~. b':>· .:::.. ::::. :::.. ::::> > .

,~ = + 1 r r 1 E F' 1 r r' 1 J g. 1 4 J. 1 4 J :11 ~ • I

Gb Major. Broad and even tone.

Andante.

_ M& n J. 1 J 1 F' I r-' 1 rr I r 1 [' 1 L' 1 r I

f

~ m t I r 1 L' 1 F' 1 F' 1 F' 1 r-' 1 r . 1 J. :1 J. I

17636

6 .

E~ Minor. As soft as possible, holding the bow very lightly.

~ bW indj~te. I J I J I j. I F' I §g' I t I r I r I L' I r I

pp

~ ~ f:' I r I r- I r I r' I T' I ~F' I F' I J. I J I J. :1 J I

F~ Major. The quarter-note short, the accent strong.

~ Allegro moderato.;::.. ~

~. # 0>- 0>- ~ 0>- 0>- • •

#li fl ~ j ~ I ~ J ~ I ~ j { I r r t I r F- r IF r r I

fIr!

-- . ;::... --

-- .-.~~~ ._. ~

;::.. .;::.... - . . .

~Y¥tr tiFF EIEL E 1ft fl==lfr FIFL FI

7

E Major.

~ ~ Allegro agitato. • . f{ ~. E' . .

#p~ J J.IJ. J·I r' rolE' F"I IT t 1= = 1= t lIT C" lIT" r'l r' J.I#· .J.:1LJ.i' I

p poco a pooo cresc. f poco a poco dZ1l1:tn. p

0# Minor.

Allegro agitato.

. .

. .

. .

P 1'000 a 1'000 oresc, f 1'000 a 1'000 dimin. p

A Major. Sostenuto.

8

First practise these scales legato, and then play them with the bowing given below. The correct stopping of the Sixth and Seventh is prepared by the short finger-exercise preceding each minor scale.

Gp major. Ep minor.

~ me ~iNiil'_'Jt-,M;I!&ri:I_IEM~*IJi-11

{76S6

9

Major and Minor Scales Within the First Position.

The previous remarks are a sufficient guide for practice.

II

17686

10

~ ~ II JjjJ5UO ectlaiiibittg_:II:i!U8 jm:11 ~ i-I f W Il apSrVi1iifciiiiJIII_Q 1_1:114* - II ~ W II _s_~=Bjirr __ :I"rHJ'''_tJt- I 4ft" .J-ilirL.:II~liir;jJllJi- I

~ ~ "5Jp14~'jtffR'_':jjj{Sjlir&_1Ji - I ~~II_P-i@b __ :I:JjQIJAdi~:li·1

~MII JiiicUrtlltUriiLJ:III~I@tt":IIJ*· I 4 ~~ Il_Sij=QlgffJ~a:I:~I.w:IJ·1 4 ~ i m;;-iI I Crt i{j]g :111_ till tit tiRi},IJ i ~ I

. 4rr~i~I~:II:,grtll@@':IJit II

17686

11

~Yfl ~_lirrrimlrIIJdjjltiijm:11J Ii II

~ ~~ J5iepg v@suw. :1:ffijj'liim:11J H II ~ ~1l_;rcrilirr.:II_pjQ:IIJi-1i

~ ~Il jiil_tt;qitriiltnYN"I~Q:1 i-II

,., . J

~Y.Il_.irili-crt.:II:m_ti@~1J:IJi-1i

~ ~ Il ~riniEtfmm '11~gtjl Ci& fM):11 J t - I ~ ~ II jj1iiiu6bilitD~:I __ :ll-1i ~~#~ & ! #=rFtte~ i" ~r

~fiJiJi "p @fl ±_£JJ:I'Fjtf£h~ltFm:IIJU I

~ ~ I' ijf3! _artl irrftiJij:II:J5ilt@jIPf_:IIJ i-II ~ ~ II ~dib_):ljjjtjjl_i4:lli-1i ~ .ll_!;rP=(lb __ :I~"I~Q'lyi-1i ~'2lfiC&IfUlfur&m l~ liiJ5JIJ iii

176a6

12

N91.

Major Scales Beginning with the First Finger.

N92.

Minor Scales Beginning with the First Finger.

14

At the point and very short and dry.

1.7636

176:i6 f - - p - - f - - p - - f - - p - - f - - p - -

16

NQ4.

In the middle of the bow, rather briskly. Springing bow .

. .

Sautillo

8rd Pos. In the middle

...... Very light staccato.

. ...... .

. . .

"If'

4-J~~~

~ ..

. .,

. .. fI. fl.' fl.. .

(taL I ~r [li

ISth Pos.

_.

f~ >

r: :> >

Ifr fe fcn @

17

5th Pos. Grand Detache »»

~ II

r II

. ..

. . ---

V 3

. ..

Scales and broken thirds on one string for practice in changing p osi tions.

The left hand must be held quite at ease, with the thumb very flexible. Execute each

with precision. Alternation between the Ist, 3d and 5th Positions.

change of pos it ion

N<'> 1.

No .~

.L • ",,-,.

I _. _ __ _ .

N<'>3.

N<'> 4 .

••• ••• -_ ••••••••••••••••• -" 0 •• _ •• _ow. • __ ••• _0_ •••• __ • • __ • ••• •• 0 __ 0_ •• _ 0_ 0_

._-_ _-_. __ -----_ _------- _-- .. -- __ ._-------------------_ _.- __ _----_._- ------- - _----_._----- _--_.- _--

N<'> 1.

Alternation between the 2d, 4th and 6th Positions. N<'> 2.

I _ _._. _ .

17636

20

AJJ, H NC? 3. ..-.II1II .......... ~~ ~ NC? 4 . ...... -
~

• r-*T_- _.!,/ ~ • 1,· .. 1- -2 ~·-1 ~ ....
-
IV ........................... _ ..................... .. ..... _ ...................................... _ ......................................................................................
~JJ, ~_ .1 ~- ~ ~~ ~. 11 ~ 2 ~ ~ ~
•
•
• ,I --,.,- 2 • t ....... - ........ X
lll ............ _ ............. _ ............ _ ........ .. ................................................................................................... - ..............................................................................
~JJ, ~ .1 t_ J--dt~ ~~ ~ .1 ~ .,." ... ~,.~
·
• - •
II .............. _ .......................... _ ........ .. -._ ........ - ........ - __ .......................................................................................... ~ ...............................
t,aHJI:!: ! e~ ~. ···~",,~l'~
~ I ....._ -'~ ... ':~fI'_ ~ I ,._ .. -- :J::: ...,1-'1-'-'-
· ·
· •
.. • I _ _ _ _ .

....................................... .

NQ 1.

Alternation between the 3d, lith and 7th Poaitions. N«;l2.

~~ ~ N91.. ~I N~2. .-II .... ~ NQ3. .... ,. ....
·
• ~~ • ~ 'U1ilft • ~'3" OII~ '!."'Hf1
II
2 II all 3
IV .......... _. __ ....... _ ..................... , _.
................................................................................ . ................................................ _- ................................
~~ ~. ~ ~ ~ ~ !.ea ~ ~~ ~~
·
•
• ;121 ' ....... ...., 'nq • 2ij~ - - ~8.e • ij" "8
m .............. _ .................. _ ...... : ...
. __ ...................... _ .................. - .................... - .... ............... ~ .. ~ ... _
~JJ, ~ ~~ ~~
_ .e ....... ...1' 21 ~ , II 2 ... '" ...,....1 !.eo_;._ ~~ 8,,8" ;.~, "8,,~
•
·
• n ....... .__ .. - .~ ...................................... _ ..............
........... -- ................................................... ............................. - ........................ - ............ - ...........
~ ~ ~8~ ~~
J 'lll
,,~ ~ 12..:. ~__!_2lL_ 'f- "" 823 ~.,~ "84
.l .... 2, flSJ, fl~ ~ -
.
. ·
• I ........... _ ............ _ ...... ~ ...... - •
..... _-.-_ .. -- . 170:~fl

21

NQ 7.

Major and Minor Scales and Arpeggios in Two Octaves, Changing Positione.f

II

.. ) First. practise each of these scales leKfltfJ; then the bowings marked below, and shading, should be practised. t?flBS

22

.~ II

I

diitachO

martelle

1 I

. . . . . . . ..

....

Sautille (Spring-ing bow)

Sautil le

23

1 II

~ J II

I II

17886

24

II

25

~-ft#.11 !jJuDJ! otrl&{u IftirY6[ie;:tao :11 J J' II

'--" . ~":J.

~----::~-

~. I 3 ~3 I d

~·#.II:Vj; g[fibifDJo Iby gflAUlOJ) :11 J , II

II" 11 JiGCi4;MQ."i:ti!tllbtec;iijzt; :11 ~ J, II

!P ~~ . ,:::_/ ~ . ~ ~~ ~L~

~." 1:_ t~Hg -.1 tJ§'l ttfs@ roo :11 jill

~.# II QiJ Cit r! outMEr 1 'Uattle r rl nflj :11 ~ J II

. 0 I fcf~ - 0 I ~~1 3 0

~.D# II:fJ~~£J J) 1 J? #:!tftnlsrll J) :11 ~ i II

1

{76a6 pp -----~

27

N98.

Further Changing of Positions in Exercises on One String.

Connection of the Ist with 3rd, 5th and 7th positions.

Pll feiiilfCI fiiir liifir I -ikE :~

I _

~~Il J@Js_IHrecsr"lktUjEsrfrmr leJJJjJJ@J4

III _ _ - - - - - - - - - - - - _ _ -

, ~~Il_rrrr.I~I~IDErr@rrt

11_ _ _ - _ _ _ - - _ _ _ _ _ _ _ _

~'~~~ JEll ffr.~~lf!ff~a~ fl tfLafff1drfrrrfrrr I

I_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Note: Begin these exercises in slow tempo and gradually increase to Allq(ro rirace. Impure intonation and unevenness should be the best hint to teacher and pupil to return to a slower pace.

17f13G

28

~~~Il CftrnrE¥mrrl~!mrrErr@r :1

II _ - - - - - _ - - _ - _ - - _ _ _ _

~~e rrtEikfbjr#fiiiiiiiittluwitr :11

1- - - _ _ _ _ - _ _ - - _ _ - - _ _

Practise the following exercises on the other three strings also, in the same manner.

~~#Il @B§j l@mmJl@JJy!g I~t

IV- _ - - _ _ _ _ - _ _

~¥Il ~ l@@ffl@ll@B3m§ I~!rl

Iv - - - _ - _ _ _ _ _ _ _ _ - _ _ _

~ ~~II @JEJ@JjJ jJ J@ Imwm 3M Jags jjj J i& I

IV - - - - - - - - - - - - - - - - -

-

17636

30

N99.

Changing Fingers on One Tone. It) These exercises, like those preceding,are to be played on all the strings.

_ _ 212

~_:__------ 4 4 - -

, #" j-g£r J ~ J rn Err ME 1 ft f fee fJ i i J S4F~ :1

~~ 1 _1 _ _ - - - - - - _ 8 ~~ ~

The s;me fi~gerin~ ~ fi ~ -

~-#Il JJGJ CFE!CCrFht± l~rrorE;JJhhJ :11

III - - - - - - - - - - - - - - - -

~ ~~ II _tsfti r_r r _F r! r f1! I_(i_e c_ r E_ C EJ r_U}J) :~

As before.

I -

It) Note: Do not neglect this seemingly unimportant exercise, the peculiar usefulness of which consists in changing fingers on one tone.

17686

31-

IV-

~j#t::etiSi err r r ee f U ,Cnrra r r E r;m :.

Ill- - - - - - - - - - - - -

After learning the foregoing, the following 3 - octave scales will hardly offer the pupil any difficulties, but he should not neglect some good advice with regard to them. Usually it is the third octave (I.e., the highest) which presents difficulties. In order to save time, and enable his undivided attention to be given to the intonation, the pupil should practise the third octave by itself as directed below The minor scales in particular, with their raised 6th and 7th in ascending and lowered 6th and 7th in descending, are those which give pupils trouble; and to their intonation special attention should be paid by the teacher.

The fingerings are, of course, the same as those employed in the full 3-octave scales.

~ j I! (frilifr '~II~ ffrifW I ~II ~

17888

32

I •• ,.._ 4 I I' 8 1. ~ 4
21 .,..._ I_ ...... =F~ 2 t I- -_
~ J I ~ ft.
. . .
. . .
• 17636

N910.

33

The scales through three octaves are to be played in eYf~ry tempo from Andante to Vioace, and with every kind of bowing. The bowings are to be copied from Nos. 2, 4. and 5.

17636

17686

35

III

17686

36

17636

37

1"1636