Preludio-

M i i s i c Inc.

" - 77--) J~) A /

 Circle of 5ths

Chord Functions in the Key of C

I ii iii IV V vi vii° vii7V W/IV

Tonic Super- Mediant Sub- Dominant Sub- Leading- Diminished Dominant
tonic dominant mediant tone 7th 7th
4
Practice Suggestions for Scales and Arpeggios
The practice of scales need never be monotonous! Bovvings and rhythms may be combined in dozens of different ways
in the practice of scales and arpeggios. The bowings and rhythmic variants shown here may be applied to the fast
passage work in the violinist's repertoire to develop and improve evenness, clarity, agility, speed and intonation. Oniy
a few basic bowings and rhythms are suggested here. The more notes played in one bow, the faster the ternpo must be,
but never at the expense of accurate intonation. Imaginative combinations of these examples starting on both
down-bow and up-bow will produce endless variety.

The scales and seven arpeggio routine found in this book are based on the scale systems of Otokar Sevcik aiid Cari
Flesch. The upper fingerings in the scales and arpeggios have been passed down through several generations of
teachers and students from the famous Belgian violinist, Eugéne Ysaye. In Ysaye's system, the bow crosses the strings
first, then the left hand shifts on the E string. In the lower fingerings, the first shift occurs on the D or A string. So that
the bow arm leads smoothly to the new string, open strings are usually used on the ascending scale and fourth fingers
on the descending. There are numerous ways to play scales, arpeggios and double-stops, however, and teachers and
students should feel free to employ various fingering systems. Each practice suggestion is shown in the key of G and
should be transposed into all keys.

1. Slurs

— \

— \
— \

— \
— \

It:

- ñ
—

- "-^ M r - '' J ¿ -.
 1
Left Hand Acceleration
6^
——1—1—

1 ^ ^£Lf B.—m J — J — — —1 1 , II —

r>-,-. - ^ ^ ^ ^ ^i \
= ^ 1

Arpeggios 4
[ t J Forwards and Backwards - play with or without slurs 3 0 3 t „ 1

4=R
 971 Repeat top octave as needed

79

11. L.H. velocitj:,,,..-'^

» 3
fe !B '—

3—L ^

Broken Thirds
2-2 2^2' 2 ^_
12.| Practice shifts forwards and backwards 2-2 2^2 2 _ V . .-^^ r > #^1*

^ ^ ^ ^ ^

^ ^— ^
tJ — -Á-i-*-
5 ^ etc

Chromatic
14. 4 + 1

I-

!Í5] Slurs

'M tí
 t

n
B o w i n g s - Practice bovvings with and vvjthout various rhythms.
19. 20] '[21^)
16. 6 notes m¡

23. 24. 25. 26. 27.

22,
71 /TliTl 7
: I
28. 8 notes 29. 30. 31. 32. 33.

^ [35] [36] [37] [38] [39.[ Use with No. 3.

J7^ I J511Jro I ^ I^ ^ I^ ^ I r]^ ^ 11

R h y t h m s - Practice rhythms with and without various bowings.

40] 6 notes 41. 42. 43. 44. 45.;

46.

é d é 77
47.

mn mm hht^ m^n m.m 48. 49. 50. 51.

52. 53. 54. 55. 56. 57.

mfT¡ mm ir^m i n
58. 8 notes 59. 60. 61. 62.

63. 64. 65. 66. 67.

é é é é é é é é m é é é é é é d é é é é

70. 71. 72.

f I I r 1 I 1 I
3 3
 Practice Suggestions for Double-Stops
When playing double-stops, the fingers used in the first double-stop remain on the string as anchors until the fingers for
the next double-stop have been placed. This kind of "vvalking" finger action produces smooth, efficient motion in the
left hand. It also aids the hand in estimating the correct combinations and distances of half-steps and whole-steps to
ensure acurate intonation. When the same fingers move to a new double-stop by means of a shift, they are not lifted
but rather glide on the strings from one position to the next.

The foUowing introductory exercises for octaves and thirds are based on the concept of placing the fingers individually,
On the ascending scale, the fingers are placed in ascending numencal order, i.e. O, 1, 2, 3 or 1, 2, 3, 4. On the
descending scale, the fingers are placed in descending numeñcal order, i.e. 4, 3, 2, I , or 3, 2, 1, 0. Fingers should
remain anchored wheneverpossible.

Octaves \/ - half step

1 3 4
3

3
\

3 3 4

— i — ^ —
' 1 1 \

* i 0 0 —1 r i H
1=H — « - j — 1 6-

After this introduction, the student may wish to proceed to p. 11, no. 78.
T h i r d s - practice each shift separately V = half step W = whole step

15.

After this introduction, the student may wish to proceed lo p. 11, no. 77 in 3rds.
^ Or; I
 10

1 1 1 1

É
0 1 2 3 3 3 3 3

^ -é- T¿ -¿ -é-
3
1 1 I 1
2 0 2 O 0 12 3 3 3 3 3
4 2 4 2

2 0 2 O 12 3 4
4 2 4 2 0 12 3
12 3 4

L/1/ ^ i
2 1 2 1 4 3 2 1 • 2 3
4 _ 3 _ 4 _3 1 2 3 4
3 „ 4 3 ^ 4

4 3 2 1 0 2 O 2
3 2 10
2_4 2 4 4 3 2 1
9 S t
» 8 sM
' 1 ' 1 n 2 o o

1 1 1 1
3 3 3 3 3 2 10

Oijui unan h¡
Fingered Octaves
77. 12 3 3 I 3 3 1 2 3 4 4 0 J 2 «-LÍÍ,3

m
2 2
IT"
 12
KeyofG 33 j
Major

i m
3Í
Ta

Melodic Minor

SI
Harmonic Minor
1/
5

1 ' 4

^ _
r r^ —=*rrr;^ 1
2 ;
2 * ^ * ^ • = ^.

Tonic Minor
O 3

Broken Thirds

- « p — A — * r 1*"
V,
 4 4 4
P — i — * T ^' 1 1 _ — t=r-^ \
r P ' é ' A
J^>
Chromatic

0 1 2 1 2 3 1 2 3 1 2 3 1. 2 3

O 4 3 2 '1 2 l o
4 3
2 1 2 1

4
Octaves 9;
3 4
3 4
O 1
O 1 2_
1

Thirds 1 2 2 1
2 1
3 4 4 3 O 2 O 2
4 3 2 4 2 4

te
1 2 3 3 2 1
3 4 4 4 4 1 1 I
M H 3
m m M H rO M
4 4 4 4
3 2
2 3 3
Sixths 1
3 4 1 4
3
1
O
¿I 4
2 3 O 2 3
I»-

^ na rvi rvi rvl M M m H ^

1^ M H rvi ^^ M -tí
4 4 4
3 2
2 2
Fingered Octaves 1 iS»- 2 4
2 3 3 4 2 3 I 3 3 2 4
O 2
0 1 1 2 0 1 1 1

3 4 3 4 3 4 3 4 4 3 4 3 4
1 2 1 2 ) 2 I 2 2 1 2 1 2 1

Tenths
3 4
4
1
3
O 4 3
O
4
1
1

I
Harmonics 4
I 3 4
3 4 3 4 3 4
O 1 O 1 O i

'3
r a -
 4 4 4
2 3
, o 4

S3É
3 4 1
3 4
Tonic MinoríJ^ Tonic MajoivX?) j 3

4 ^ li-l'í^ # 4" 4
3C

1 3 1 4 1 /. 1 ^ ^ ^ ^ 1 3 1 4

3 3 ^
I»
4 ^ 4 4 4
* 0
> m
« —é-f-
0
4=J 1
1 3 2 4
(2) 4- 2)
. / 1
3 4
1 _ * Sub-dominant M i n o r ^ - 1
3 4 Gá 2 4 ;3
O 3

1 4 2 4
m 2 1 4 (2)

( Diminished 7th

3 0 2 4 1 710
O 3

\ 1 , 3 '4 3 1 A 2' . 9 ~
4 1-3, •
3 4
Dominant 7th
2 3
1 " t»T^ r P# _ 1
3 4 4 4 4

A' 3 ;i ,3 !4- 13' M' E 1 ,

i
,Jj - - • • ^- ,3 •- 2 , 2

Broken Tliirds , ^V. tf^

2
4 4 4 4 1

Ii
 -9
*rr^ r r r M J 4 4
, é * J »

2 „2
Chromatic
A 1 1 2 2 3 4 0 1 1 2 2 3 ^ , 2

^ W } ] ^ ^ ' H ^ l ' f ' 1^ 2 3 4 o 1 2 ^ 3 4 O 12 3 1 2 3 1 2 3 1 2 3 1 2 3

4 3
3 2 4 3 2 2 1 1 0 4 3 2 2 1

2 2 2 J c 2 1 ^ 3 3 3
F e 1 1 2 2 2
•
r
p

^ - -4 4 2 3
- _

rfr .O-
» —

-L-J
*
J
1
]
4 , 3 3 2 ¿1

4 3 4 3 : 2 2 2 ? ^ 3

i '1
2 1 Jt. 0
/ 1 2 1 'i 3 a,
*-
2 h 2
-1»—
r 9
• » •
2 11 2 1

p— •
f- 1
—
— 1
r^^E^-Ji « —4 - p—1 —4
•J
4
Tenths 1
4
I 1
33: ? — ¡

Harmonics
4 4
1 1,
—
— ^— ^

t_l L 4=^ L_,. > a

'9
 0.
16
Key of A

#¿
Major 2 ^ 1 3
1 ]« 2
r
0 0 4 4
^ f*

1 1 2 3 4 4 3 3 4 7 ^

Melodic Minor

tí
1 1 2 3 4 3 2

Harmonic Minor

4 4 4

3 ] I
1
3 4 3 4
I
Tonic Minor Tonic Major 3
»-
0 0 0
^
0
9
L
— V i — T V
• 1
1 3 1 4
1 3 1 4 1 1 -m
El
Sub-mediant Sub-dominant Major

O O
El
1 1 p 1 3 2 4 2 2

Sub-dominant Minor
, 4 El
3 : # F 48- 3
O 0 3

El
•J 1 3 4 1 O 2 1 3 4 1 o '2

Diminished 7th 2 ? ¿ ? ,2 El
1 4 2 1 3

1 3 4 2
A
2
4 1 3 4 3 1 A 2 2 . , 1 3
d
4 ^ 4 3
,3 ,3 ,
Dominant 7th

0 o
2 L- • L- 2

4 4
El
1 3 1 3
4 2 1 3 4 3 1 E 1 4 2 ~2
^ El
Bioken Thirds

^1 jilZ-
 17

4 4 1 1

^ ^ ^ ^
r > r . 1 f ^ ^ / t ? = i , l 1 1

i Chromatic
1 2
' ^ ^ J ^ T T ]

2,1 3

2 2 3 4

2 3 4 0 1 2 1 , 3 4 0 1 2 1 2 1 2 3 ] 2 3 1 2 3 1 2 3

^ í l l í ^ b f p-ll^ ' , 1 O, 4 3 2 2 1 1 3 2 2 1 1 0 4 2 _ _ L _ 2 ^

3 2 1 3 2 1 3 2 1 I O 4 3 '2 3 0 4 3 2 '3 2 1 o T'^T f o ^'

4 3 2 2

Octaves 4 3 4 '
2. .K. »- 4
3 1 4
0 1 0 C: 9- p- « . . 1
• 0 r ' r 0 1

-• 4 •-»- —
t 0- •
w—
• • é
-—0 —1
— ^

i 0 • • •
-9 • -0 0 0^ 3
/ 0
Thirds 2 1
3 4 4 3 4 1

tí 3 2 1 2
3Ei
1 2 3
3 4 4 4 4 3 4

4 4
2 3 3 3 3 2
1
9. 0 w .0 ¿-
0 -0
1
0. 9 •9- 'E :
9 :í x : r -w0 0 1
w 0—1 f
-0
(• 9 • -
9
9 - p—0—
^ — ^
- " i
11
—ú * 0
—
d g f c ^ • 4 - — \

Fingered Octaves ^
3 3 4 2
II li
3 4
2 0. i 2 2
2
4 3
2 1
3 2
1, o
4
2,
3 3
li 1
1| 1| 2, O

3 '4
3j 3 14
3 4 -4 1 2 1 2 4 4
2 2

Tenths J2.
4 3 4
1 •9 ^Pf^0-
tí

:¿ W *
1
Harmonics
4 3 4
1 O, l
18
KeyofBl;'tt->;,'
Major

1 1 3 4

^ T .
Melodic Minor -•

4 '

/ Harmonic Minor

4 4 4

1 1 3 4

Tonic Minor Tonic Major '^'^

2 1 3 4 P
O 1
2 1 3 4

Sub-mediant Sub-dominant Májor

4

1 —d 2 1 3 4
o )

Sub-dominant Minor
4
4

«) 1 1 3 4 1 1 1 1 3 4 1 1
1

Diminished 7th ^ ' 1 1 •

4
f r 4 ^ r ^
= f = t f ? ^ ^ . ~ —

-4 2 1 2 3 4 2 4 3 ^1 , — ^ • ^ ^

Dominant 7th
 .3 4 19
/ •

4
r 1

^^^^^^ ' J ^ .1 «
» ^ J '

3 4 0 1 2 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3

1 1
, 2 1 ^ 0 4 3 2 2 1 ' 0 4 3 2 2 j
1 0 4 3 2 2
í V

4 3 2 3 2 1 3 2 1 3 2 3 2 1 3 2 1 U 4 3 2 T 9 1 0 4 3 2 1 "2

Octaves 3 3 4
3 4
4 3 O
O 1
3I

--Í

Thirds 2 1 2
1 2 1 2 1 4 3 2A o 2
3 4 3 4 3 4 4\ I 2 4

3 ^
3 2 1 2
Si
1/ 1
3
2
4

^ A
3
4 4 4

4
3 4

Sixths
2
1

4 4
2 2
Fingered Octaves 1
4 2 2 4
3 4 2 3 3 2 4
r E O 2
1 2 0 1 1 o 2

;9;
Tenths 3 4 ?1 3 4
3 4
4
I
O I
* e c :2
O
M.
1
O 1

I
Haimonics

0 0
J
- ^1
— ^ —

4— • —eJ — ^ -
— •

4= — •
— «
•0
— - ' — « 1
"d
4 a —
— • ^ — J
20
KeyofB
4 4 4
Major
4 4

1 ] 3 4
3
P
4 4 3
Melodic Minor
4 3 4
\ 4

1 1 1

Harmonic Minor
4 4 4 3

_
r r r ;^ . i '11.. rrr-
-'5" ' 4 4 4

1 1

Tonic Minor Tonic Major

" 1 3
A :_ :z :_

2 1 3 4 2
a

1 P 2 1 3 4
^ 4
Sub-mediant /
4:f^F?^. 4 Sub-dominant Major'
o _

2 1 3 4 2 1
4
1 , 3
Sub-dominant Minor ^ ^
4

1 1 3 4 1 1 3 4 1 1

Diminished 7th
4 3 4 * _ ,4 3

4 2 1 2 3 4 2 4 3 1 1
1 3

Dominant 7th 4 J . ^ ñ £4
3

2 1 2 3 4

Broken Thirds

4 I
 21

i 1
• 4
4 1 1 4

*' ^ * - t e e s í

1„ 2, 2 . 3

I
Chromatic

^ *2^13f^ff^1'tt7 V 1 2 3 4 O 1 fTT^ T o 1 2 3 1 2 3 12 3 1 2 3 1 2 3 1 2 3

1 l l l 2 , 2 1,3
2 , 1
3 2, 1 1 1 O

í 4 3 2 3

Octave s
2 1 3 2 1 3 2 1 3 2 1 3

4
2 1 1 0 4

9; P- 4 4
4 ' 3
77
2

4
1
1 ft : 1
r 12 E :
0
1 1
1»- m
4
1
4
1
m
P-
r t
• • <
\
r*
— •

V
i- n
* 1 r
0—
-«
\

Thirds , I 2 1 ^ 4
1 , 1 2 1 1 1 2 0 I 3 4 •534 yr» A H
1 o 2 1 1 1 2 1 1 2
^ 3 2 4 3 3 2 4 3 3 1
2 3 3 4 2 3 3 4 2 3 - *
tí
3 d f

2 1 1
4 3
4
3
4
3
4 3 2 1
2 3 4 3
Sixths :9; 3
2 2 1 2 2 4
:2
1 1 JE ^ 1 3

4 4 4
2 2 2
Fingered Octaves 4 3 4 4 3
3 4 3 4 3 4 j 2 -e 2 1 3 4 3 4 3
1 2 1 2 1
:2 I»—
4 i
«
E D
D- A G
G
9
Tenths 4
4 1
,1 :2

Harmonics

1 — j
• ^ * oT t," 7^— E=^-4=—^-=-
• » g J t3<> —d d
•• i # «>
•
'le '
22
KeyofC 4 4 4
Major
2 2 1

1 1 3 A
4
4 4
Melodic Minor
2 1

' » é ^ ' '

4-
i ^ - . j é t " - ' u 1 1 1
3
3 Harmonic Minor •1 i

¡1
3

4^ ^1 r^i:4 ? —

A
4

Tonic Minor 4 ' Tonic Major

3 • i . ^ r ^ - ^ ^ f := P
2 i 3 4 V.^ 2"^' 1 5 í 2 1 3 4
4
3
Sub-mediant 4 1 A Sub-dominant Major
4
3

2 1 4 2 1 3 4 2 1

1 i
Sub-dominant Minor 4 . P
4

1 1 3 4 1 1 1 1 1 3 4 1 1

Diminished 7th
4 1 3 4 ^

90-
1 3 4 2 1 2 3 4 2 4 3 1 1
o 4
Dominant 7th

i 9-0
3 _ ?

1 2 1 2 3 4
b^

i i
Broken Thirds

3
í

I
Chromatic

3 4 0 1 . 2 2 ^ 4 ^ J ^ , 2 3„4 O^L|lJjt^¿j¿'
2 3 4 0 1 2 ^ 3 4 0 1 2 1 2 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3

4 3 2 1
3, 2 1 3 2

l ¿ ¿ i d 2, 1 o 4 3 , 2 2 1 1 0 ^ 2 2 , 1 0 4 3

4 3 2 3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 2 1 0 4 3 2 1 1 2 1
0 4 3
2 1 o

Octaves 3 4 3 4
O 1 3 4
4 3 o 1
li O

3 ^1 1 2 1

I ] » = F F t
3 4 3

4
3

(^•"^ Sixths
; 1 o.
3 3
2 2

É
4 4
2 2
Fingered Octaves 2 3 1» f2. 4
4 2 3 3 . O I 1 2 3 2 4
2i O 1 1 1 O 2

Tenths 3 4 •
o

4
1 3 4
4 3
1| O

i r ^ i 0
0 i

Harmonics

-o
i
Xt^uw^qv' \j_xAtíjOJ) Qfi».UoS qL.yr, J

KeyofDt/(
Majoií 1 i.*]? 3.
2 2 1 ^ 1 ' •f:ñfc: = :: 1 ifSÉf
•f 1 F£f
Crr f
3 ^ 3 ^
í

^ Melodic M m o ?

1 - ^ ^ ^ J J p}
4 4 4

4 4 I

Tonic Minor
>. := Tonic Major
3
4 L1 1 P

1 2 1 3 4 1 2 1 3 4

4 Sub-mediant 4 i E := _ 4 Sub-dominant Majo/

4/ 4 ,

1 2 1 3 4

1 i i : 1.^
Sub-dominant Minor' 4 ^W?]?: £

Ȓ 1 1 3 4 1 m 1 1 1 3 4 1

||
1 4 1

Diminished 7tbi »;
2
4 1 3. 4

" ^ b 4 J 1]^ i = - i-j ^- 7 ^

4 2 1 2 3 4 2 4 3 1 1

Dominant 7th
 9
Tenths 4
4 4 1
JE
1» i * JE : ^

i
Harmonics

pülü p ^_ ^ -A

"X5"
26
Key of D
- I 8»-
Major
2 2

1 1 1 3 A
4

Melodic Minor

üji.,|,'uTi'f'ffFf^ir'r'f'"r|

« -
m ,
4

f r r
— r 1»
4 4

n — i — n
o- J é
r r ' — j t ^ - tt*
'
r
U-*
r ~ ~
1

1 R M -
íI
4 4 4

feíÉÉ- Mf^thW : = = P P ( í l f í í

A
4

Tonic Minor
Qv.
Tanic Major 8"--

I 2 1 3 4 2 1 1 2 1 3 4

Sub-mediant 8- Sub-dominant Major

4
! f- 4 1
ÉÉi 2 1 2 1 3 4 2 1

Sub-dominant Minor
1
4 ^bjft n ^* ^ nb

1 1 3 4 1 1 3 4

Diminished 7th , 4
3 4
4 3
A I
3 .4

1 3 4 2 1 2 3 4 2 4 3 1 1

Qva
Dominant 7th
3 4

4
1 3 1 2 1 2 3 4

w
^ 4 2

—i*-í-r~--f~r--r—
 . 2 8"'
Chromatic , , 2 l ^ A -m^>k-m- T I 2 , 2 3

3 1 2 3

1 , 3 2 l o
f:Hf:±Í>±M.lul 3I 2 1 3 2 1, 1 o 4 3 2 2 1 ^ 3 2 2 1 1

4 3 2 3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 1 o 4 3 2 1 , 1 0 4 3 2 1 2 1

Octaves 3 4 -0 ^
Ü I
10 ^ 4
3 4 1
10 ^
O 1 ^ • 0

4 3 3 4
1 1 1 1
1
Thirds
3
] i ' 1 1 O 2

*44 3 3 2 4

1^
4 4 4
2 3 3 3
1
19
Sixths 2

e ?^ 1
1

rn pr)
' 2 2
4
Fingered Octaves 2 3 3 m ^ 2 i I
2 4
2 3 3 ' ^ O 1 O 2 3 3 2
O 1 ' - ^ 0. Ei-r: rzrz •0 E 1 1 O

Tenths
o 1
1 Jt
# 1»-

Harmonics
2
 KeyofI
1 8» ,
Major ^ JLP:- i . 4 ^ 4 3
• A

3 A 3
4
1 i

Melodic Minor 1 4 ^1 3 2

1 1 1

1» 3 A Harmonic M i n 3r
4
4 4

• ^ « 1 rn
dz_^
—<5Í^ '
2 1
, 1 8^' •' - 3
4 4 4

90

A
4

8^va. 8"
Tonic Minor „ 4 ^ Tonic Major ^ 1

fcrz
1 3 2 1 2 1 1 2 1

8"
Sub-mediant Sub-dominant Major
4

2 4 2 1 3 4 3 1 2 1 3

8"°- - - 8"^
Sub-dominant Minor 4

1 1 3 4 3 1 1 1 3 1 1 3 4 3 1 1

4 2 •0 4
4 J »• 3
» 1 •
ñ F — T - - r •

' 1' 3 4 2 1 2 3 4 2 4 3 1 i
1
 Chromatic 1 2 , 2 3
o 4 O 1
1 1 2 2 3 , 1 2 2 3

1 2 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3
2 3 4 0 1 2
2 1

0 4 3 2 2 'r ' " ^ 3 3 2 1 1

4 3 2 3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 3 2 I 2 I O 4 3 2^1 2 1 0 4 3^' 2 'P 2

Qva

I
Octaves
4
0-
1

4 3 3 4
1 1 1 1

4^ 2
Thirds
1 1 1 1 2 2
3 3 3 3 4 4

•
2 1 i 3

•r r
1 »; 1 fk. 2

1
1 2 2
r
k . • » "3" i—
— -

' 4- - ji —0
m
1^— V—
J
— « ---
—o

1 - 3 4 4

•
1
c
•
1 2 1
r 0 •E •E
' 0
_t"
1 =#=^ - p— —
p — P—
é-
•

Tenths
4
^ 8"=
19^
1 .

$5

Harmonics

9p
-o-
30
Key of E
1 8- 3
Major

1 1 ]
1 Qm.
Melodic Minor 4 l , 3, 2

1 1

2 4 , 4
• - 1P • ~ rtíJ
L-el^ 1
2 1

te*

3 A
4
8«.- 8"

fe.
Tonic Minor Tonic Major 4

2 1 1 í

1 3 2 1 3 4 .2 1 3 2 1 3 4

8"
Süb-mediant Sub-dominant Major
1 « 1^ 4
^f 4 : #

1 4 2 1 3 4 2 1 3
1
. • 8"
3M.

Sub-dominant Minor 3 4
l^f^ 4 iti^ f ^
tí
1 1 3 4
m 1 3 1 1 3 4

Diminished 7th
4 -9

•
4
*
1 u
^•^^Hf*
«!—1 M «-

4
B"
-^4 o

—
1

1 3 2 1 2 3 4 2 4 3 1

• c

===
1

ii ^5
4
»
•
r\ F 1^ f «.
9

' r
P—:^
w m— _ o
1
-\\
1 3 1 2 1 2 3 4 2

Broken Thirds
-4
r^- 1 J 1 " j
4
r- f ^ J* 1
- = — = 1
 Q^U
Chromatic 2 1 2 1 2 2 3

. aA 1 2 2 3 ^^^JjJ. 2 2 3 4
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 Violinist and violist Barbara Barber is intemationally known as a recording artist, pedagogue,
publisher, consultan!, adjudicator, editor and author She has concertized and presentad at
conferences, institutes and workshops across the United States, and in Canadá, México, E l
Salvador, Brazil, Perú, Colombia, Australia, New Zealand, Korea, Taiwan, Hong Kong, Japan,
Italy, Ireland, Finland, Sweden and Bermuda. She has appeared as soloist with orchestras in the
United States, México, and Brazil. She received her Bachelor of Music and Master of Music in
violin performance from Texas Tech Uiiiversity and also studied at Interlochen Mqsic Camp,
Rocky Ridge Music Center, Accademia di Chigiana in Italy, Taos School of Music and Banff
Centre. Her teachers have been Josephine McAndrew, Rosemary Malocsay, James Barber,
Angel Reyes and Sidney Harth. Barber has taught violin and violin pedagogy at Texas Tech
University, Texas Christian University, and the University of Colorado in Boulder. Active in
the American String Teachers Association and the Suzuki Association of the Americas, Barbara
Barber has been rccognizcd for her many anides, presentations and roles on advisory and
editorial boards. Her 28 books and CDs - Solos For Young Violinists, Solos For Young Violists,
Scales For Advanced Violinists, Scales for Advanced Violists, Twinkle Variations Festival
Arrangement and Fingerboard Geography — are published by Preludio Music Inc., distributed
exclusively by Alfred Publishing Company and sold worldwide. She has also released a CD
with Brian Lewis and Mjchael McLean entitled Care To Tango? (Oak CbfO and has performed
with the Fort Worth Symphony, Dallas Chamber Orchestra, Boulder Philharmonic, Boulder
Bach Festival, Boulder Chamber Orchestra, Sinfonía of Colorado, Estes Park Music Festival,
Chamber Music Society of Estes Park and Longmont Symphony. Barber served as Artist
Teacher in Violin at Boulder Arts Acaderay and now maintains a prívate studio in Estes Park
and Longmont with Longmont Suzuki Strings. _ • •.