Galamian Contemporary Violin Technique[Scales] Translatable MULTIPLE LANGUAGES

8/10/2019 Galamian Contemporary Violin Technique[Scales] Translatable MULTIPLE LANGUAGES

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Ivan GalamianFrederick Neumann

CONTEMPORARYVIOLIN TECHNIQUE

Volume OnePART 1

Scale and Arpeggio Exercises

Catalog No. 1.2356

GALAXY MUSIC CORPORATIONa division of

ECSPUBLISHING


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Preface

This is the fi rs t in a projected se ries of three books intended to present a method of studycovering the es sent ial elements of contem porary violin technique. Sca les and arpeggios insingle stops (Part I) are integrated in an entirely new way with a system of bowing and rhythmpattern s* (Part II). By application to the ex er c ises, the patterns are designed to help the studentderive greater and quicker benefit from his scale and arpeggio practice.

Since technical mastery depends more upon control of mind over muscle than upon mere agilityof fingers, the direct way to such m astery lies through working proced ures which present aconstant challenge to the student's thinking pro cess es . For this reason new problem s mustalways be faced and solved. To provide such new problem s in almost inexhaustible supply is

the chief purpose of these patterns.

The patterns a re in two ca teg or ies : Bowings (designated by B) and Rhythms (designated by R).Each category is divided into sections, coded B1 to B16 for bowings, and R l to R16 for rhythms.The numbers indicate the number of notes in each pattern. For example, the following bowing

pattern is regarded as a two-note pattern, being made up of two-note components*"'# and is therefo re listed under B2. The design "T'-# "T"# is a four-note pattern and

appears under B4.

The sam e princip le applies to the Rhythms. The following example J. J. 3 J. 3 derives from

the two-note rhythmical figure n . Accordingly it is re fe rred to as a two-note rhythm pattern

and is listed under R2. The figure JT3 ITj is a three-note pattern (R 3 ). The figure

All three-note patterns can be applied to any exercise employing groups of three notes or anyof their multiples. In an eight-note ex ercis e, a ll p atterns of B 1 ,B 2 ,B 4 and B8 can be combined

with all patterns of Rl, R2, R4 and R8. In twelve-note ex erc ise s, all B and R patterns of 1, 2,3, 4, 6 and 12 can be combined. This ve rsatil ity of application perm its a single pattern to beused for seve ral different exe rc ise s. Innumerable combinations of B and R patterns can beutilized, as well.

The following illustrations derived from Chapter 3, Part I, will demonstrate the method ofcombining the ex er cis es with the patterns. The applicable patterns ar e:

B l, B2, B3, B4, B6 and B12

R l, R2, R3, R4, R6 and R12

3 6

is a twelve-note pattern (R12).

3 ____ 3 3 3

First Primary pat tern: J J- ] ] J j j J J J J j J ||

Example of exercise:

Application of its first primary pattern:

*The guiding idea of this integration is explained in Ivan Galamians book, P r i n c i p l es o f V i ol i n P l a y i n g

and Teachi ng, Pr entice-H all, In c., Englewood Cliffs, New Jer sey , 196 2.


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Application of B3, 2) i with first primary pattern:

Application of R2, 1) a)detache, b) legato

Combined withJ33, 2) #n and R2, 1)

3 6

Combined with B4, 3) "T"* and R12, 8) J J~3 J7 1 JJ JJ 5 5

At the head of each chapter in Part I B and R code numbers are listed to indicate the applicablepatterns. Primary patterns in which the ex er cis e should fir s t be practiced a re also given.

To fac ilita te the use of various bowings, rhythms and the ir combinations, all note-heads in theex er ci se s are printed without stem s. Bowing patterns are shown by note-heads which do not

indicate any spe cific time value, m eter or rhythm. Rhythm patterns are presented without anyindications for specific bowings.

Wherever two different fingerings are given (one above and one below the notes) both are to bepractice d. Other fingerings should also be devised. In some ex er cise s in Chapters 10-12 ofPart I the use of "creepin g" fingering is suggested. This technique is briefly explained in

Chapter 10.

The teacher will be the best judge of which bowings, rhythms and the ir combinations will mostusefully serve the needs of each student. It is suggested that the patterns be utilized in a diversified fashion and that the rhythms and bowings be employed in constantly changing combinationsto stimulate continuous int ere st. Chapters 3, 4 and 7 of Part I contain pa rticu larly important

material for such treatment.

We hope this approach to the problems of contemporary violin technique will provide interestingand profitable results for both teacher and student.

Ivan Galamian

Freder ick Neumann

GMC 2356 Hi


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Table of Symbols

Symbol

I, II, III, etc.

G, D, A, E

D ------------

2 2

Definition

1st, 2nd, 3rd Position, etc.

Strings

Stay on the same string

Continue with the same finger

Reach up

Reach down

Keep finger down

Remain in position


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1

Scales in One Position

Groups of eight notes. PATTERNS: Bl, B2, B4, Bs, ( B16)

Ri, R2, R4, Rh, (R16)Primary Patterns:

Practice this exercise in al l the major and minor keys . *

I . - .

*

$II

$II I

T *

m +-

-+T

t

TV~w ~#.

$ *

$

VI

$V II

dtZMZ

E x a m p l e :

Th is may be con t i nued into h i gher pos i t i o ns.

*

*

GMC 2356

Copyright 1966, by Galaxy Music Corporation, for all countries, a division ofECS Publishing, Boston, Massachusetts.Printed in U.S.A.

1


6/168

Scales on One String

2

Groups of twelve note s. PATTERNS: Bl, B2, B3, B4, B6, B12

Rl, R2, R3, R4, R6, R12Primary Patterns:

i ; t j r n r h r n i ? j m r m f m i t j m n / m n

P rac tice this exe rc ise on al l fou r str ings in al l the m ajor and m inor keys .

ONE-FINGER SCALES

A G . __________1 1

^ * -

9 9 m -.u ~~~~ -------- _________________________________ ^ ___________________________________________t t _________________J_________ ...............A . . . A 9 # m

f f H 1 1 1 1 ---------- __ 9 9 9 , a . 4 ...............4 ................ 4 ............. a 0 9 m ~ ~~ ..................

W 1 m 9 9 o * 4 4 4 . o 9 m i '

i t - + 2 3 3 3

i i 1

z 2 * ? T 1 1

TWO-FINGER SCALES

0 G . 1 3 i

------ 9 ----- ^_________ p___ _____ ___.. ........................ ----------I# 4 ' 9 9 ' .....9 .....#.___m 4 ...............q ................................... .............. ...- _____

M 4 1 9 O ............ ...-jft.......9 .......M...... 9 ....... i ...........o .........................-..... IlH t n 4 o 9 9 ?----------.... ....... -------------- -------q----- -----_--------9----- 9 ----- .,---------- 9 ---------_9VHJ 1 2 1 2 m m 9 o L .... ...... ..............4.................. 2 ....... * L ... 9 ...... 9 ..... .......... ..........2...........

y + - t ? 3 2i d

3

2 GMC 2356


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F O U R - F I N G E R S C A L E S

G

i 4 ..........................................

J T A ^ ^ M A .......- .... - .................................................................J r < t m w ( o 9 # m i ...................................

I J I M \ a 9 m m

A S t t 4 m ...........m 9i 9 9 m 4

*

4 GMC 2356


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*- -V * 1 * =

$-4------ 3- fr* 'b. *

, * *


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4 4 Et l * ? _*. _ 4

$ $ H * ------- ^ k ^ - > t ft JlkOf 1 ..f4 ................... .... - - ...- : ::::------------------------------------- "---**-xw -------4---- 4-----------------------------

---------------- *T * ^ _______________ 1:=g-. q

(1 ] #=

~w

E

4

-V-4h

(3) (D m * 1 ^ A _ = = = =

.. Wi r/ .....* .........9 i 4

..j * IV , A 1 ir#k 4 ~ m m 1-J^i._____;___M---------------------- *----m----* ---- ----------------------

2

I A

i l i i 2= =

23567


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( 4 )

' i b

= i ^-4 --------- _ y

( 3 )

1#-

(1)

, 4

^ M. + iT = = = = ^ # .

m

p t a

( 3 )

1=*=*=

(1!

-4--------------Jb-4-

-

t t i

. fr1

5 2356


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* #4

( 4 )

1.

(1)

a

0 u 1

J f | f t i ---------------------------------------------------------------------------------------------------------------------------------------------1 ----------------m ---------- ------------

fin P - f r ..... i ............................... ~ ............................. ............. ' 0 ........... ................ ................ ................. ....------------1-------------------------------------------------------------------------------------- =---------------------------1-----------------------------------------------------

~ t r ... * * ........................................... _ .... .................. ................................. .......................... ..............................

2

4 4

0-4------ 4-

1 3

$ a s-4----- 4- *

#

3C=S=

s i i

23565


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$1 3

A -m- (3 2)A

3

H E*

-4------ 4-

E^rKy.., ..................... "-------------- ' ; H ' r * ------------- :-------------------- 1----------------4---------------------# # # * . 1 ..: ................

2G

Al L ^ ^ = M. ^ r - * # ------ ------------------------------------------------ n------------ * ----0---m---------------------------------------------..... ..... .............. ' ' ......m..... .... . ...... ~ -*----W-.....p".... 11 w ..p

J P l > t>, b ..................................................:-------------- t / : f 1------------- ------------------------------- 1-------------1----------------------------

17 \> I * . m * # ....-. - --------- z z

3 __# ~


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D I* It 5j p ....;..... ~...... ......... . ...- ------------------------------ 1---------------!--- -------------------(fo. _...# ........m...................... *..... .... 1.......... .. ..... .......

2

G

. ? t it i ^ft 4- a- -- =

... * *

$D

~4

(4) 1

(4) 1

f e-4--------- 1-

# a a>_

in = i t ^

4........-4 ...- ........ -4-

(4 ,N

4+3 (; 2)# *

--------.-----_ # 1 ..---------------- 1----------- 1------------1------------1---------------------

f a ----B * * * ---------------- 1----------------------

D

4 4

A o #

s

Db t] 4*~s

-4-------------- 1---------------4-

9 0......-m + 90

2D

4 , 3

b\>A

4

k b l +

* ~ " r .B

-4 ------ 9--*-...-9-

(4 ) 1

9 1> , b ...... , - - * q # # ........... i

^ .............. .......... ....... ............................................................ 9 w ........................................................................... ..

---------------------------------------------------------------------1---------------------------4 ---------------------------4-----------------------------------------------------

fa b \? * 0 . 0 * * _ ! , j

12 2356


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2356 13


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Groups of seven notes. PATTERNS: Bl, B7Rl, R7

Primary Patterns:

i rm mii m rm ii

0 ..... #

m

2

==*=

0 ------------------------------------------------------------------------------------------------------------------------------------1 0 ....... .................................. ... _ ...4................................. ....................... . j t f L ---------------------------------------------------------------------------------------------------------------------------------- 0 m ------------ * ---------------------------------------------------------------------------------

J f f l J _ * * .. ____ 1________ --------------------------------------------------------------------------------------------

"I 4

m T

-t--------1- -4--------1-------- 1-

3 3

2 a - I - I - -3 m-

GMC 2356 i5


20/168

Groups of nine notes. PATTERNS: Bl, B3, B9Rl, R}, R9

Primary Patterns:

I ~jJ T i m n . - h . - h s h i s h r n r n i . ~ h i h n

16 GMQ 2356


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Four-Octave Scales

Groups of eight notes. PATTERNS: Bl, B2, B4, BHRl, R2, R4, RH

Primary Patterns:

----- ' ' II70J 0 0, 0 ^ 0 II4CSSSSSrnSSSSSS9 EE&5E5! BE55E3539 (S35SSSfMM3S3S3* SSSSSST"1

/77T JTT 3 : JT T ! JT 73 : J J J J J7T 3 : #u j3 #f##5 : r m ,


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JL 'A* ! 1 _ jl ZZ i M_

p i -i~-4t-

2 3

a #-

IS3 2356


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( 3 2 ) 3

j * ----------------- 1------------------------------------------4 ---------4 -----------------------------

- - - - - J

j * ^ I------- --------------------------------------

---------------0-------------------------------3 ---------------------------- 3 --------- - - , , -|

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

if = - , ....... * .... $ * * * -------------------------

( 3 1 3 > 8 ---------------------------

-----------------------------1-------- - ^ ............. 1 ----------------------------

* n . i , = = B3 *

( 4 2 )

; , ; . 5 .

t -------------------------------------------4 ----------3 -----------------------3---------

$ _______________________* * *-- w .... ......... x ............. ............

2

1_4L

3

}j~i i

CO| I

~ 7 ~ - : * .. - ^ g ::z9r:::- ::- ...- .TO p b ---------------------------------- .. '........ * .* - - ^ -

GMC 2356 19


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235621


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242356


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4Mm

i4 ^ -

,4 ^ A.t r t -

(4) .JL- ilL

L 2 m 2t#- -*- ^ ^

Ig=

#&

2 62356


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Groups of sixteen notes . PATTERNS: Bl, B2, B4, BH, B16Rl, R2, R4, Rti, R16

Primary Pattern:

i 1 1

$ *

E E s - 8 ft -

235627


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. $ $ $ ------------------- :--------------^ . r z -------------------------- :--------------------------------------------- ------------------ ------------T q

________________U---------M ---- w ---- ---->-----------------------------

r - - ^ p

M l i . j i i " . . ------------------------------

^

_ ^ T -------------------------- *- # -

p

------------------------ r ------------------. . . . - F =

^ 1 - = !

* T 1

------------------------------------------ , ' * * * * . ---------------------------------------1_____________1 ______ ------------------------------- ---- # -----V --------------------- -

r ~ -

i

0 ,J2----------------------------- ~ . [? -----1i " * m -----------H

1

r t

2-------------- , b -------------------------------------------------------------- * -

r * #

1

1 1 ? ?

1

M & h ----------------------- . > *

U| n 1 j*' I -------- 0 m . ---------- - ------------------------------------- --------------- 0 J

- T * 1

0 .................. . ---------------------------------,

...................... # # ----------------------------------------------------m m ------------------

2 ----------w ----------- ------------------------------- * m ------

J T ^ ^

i

1 1 ^ 4 2 0

. -------------------------------- A 1 .....-4 a t f ---------------------------

------------- a------------- ^ 4 * ------------------ ---------------------------------------------------- . "

^ T * *

i

n A ' , , < 0 1 : . * . J ! > . z = |

7 ..... ................................ ' 1 H

l 3

= = -------------------

^ r -

3

--------- L _ t f i 3 m m --------------------------------------------------------------- m -

OJ----------------- 1-------------_ . . w ..

T ' 1

---------------- ^ - r - * --------- ---------------------- ------------------- ------------------------1

- % - i . - -----------------------------------= = f c * = F =

1

0 ,

2

- # -

1

" i

, * ..... ----------- #

^ ~ r , - * ~--------------- ^

------------------- -- i 1 i =

------------2 M - * ------------------------------------------------------------------------------------------m 9 .

m

l

a ( 2 ) ( 4 , ( 2 )

........

W ^ T ^ r - 1 ' r f - M V i . . ;.-?------- ^^ 2 4

282356


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$

(2) (4) (2 )

4 1

4 -m 4 3

X l /i ---- .1 m * 1 3 18------- 3 1 ? # 1 4 hMAG j*L(2)(4) (2) ^ JL __ A

3 ^ I * * ^- ^ > 1 . . . . 1 . -f . 1 . * ------------------------------------- W* , ....... ................... ......... ....... ...............

1G

2356 2 5


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.------- ------- - K _ 2

^ l l ^ f c -------------------------------------------------1? # ------------------- !-----------------------------------

i

l

l

i

l

1

i

j W L

= = 4

................ ............ ............. ...... a r ........- .......... ................ .... ... -

( k 1? .. .. .[7- ----------------------------------------------------------------e ----------------r r - 2 ...........

------------------ ---------------------------J ----------m -------- W.----------------------i ----------------------

................. m ...................... ..... ................ . - ...........

----------------------------------------------- 3 m 0 ---------------------------------------------

# ........\5 / ........ . . . # ......................................................................................................................................................#

- * * - -< --------------------------------------------- i--------------------------1 1 # 9

I &4

e ma -e-

M

A 3 U1*2 -0 -

-4- |2

J J E


36/168

IT

h > I j k

--------- t ----1 . 1----------------- 1------- * ~

........................... 1

4

]l~ ~ - + . L 2

a )2 A _

.................................................. 1.......# ^ - - ......---------------------------------- 9-------P ------------------- i ------------------

w * = J ? f -------------------------- 8------------------------------------- 2 y , d----------------------- * -------1---------------------------------------------

L.. _ ...9 M ........ 0--------------------------------------------------------

= * * 3 = ^ * 3. M L ~ ~ t . . ...... I

------------ ------------------ 3-4 ^P-------------------

? f - - Z ? ------------------------------------ q* #.mE

1 * > - 4A I JE_ _ _ = = b ^ 2

m \u i > -

1 i bp7 p H m m i 4 0 A W bp l 3

- & & - -----------------------------------#-?T ------------------------- 4-----------------4 o 4 1 / ^ _

-------------------------------------------------------------- P -------------------------

V----------1 7----- 9 ....... ...1.........- ....... .......... t...... : .:z:.:z...................j t.l" :.:..1-.L--r N ---------*-------------------------s 7 P

2 2

~ ^ --

4 ........ 9 + - = - - -2 -

^ i i 3 b-p- bp

d u ; ^ = = =1 L ^ ....

P k f ~ ~

D

-i S-i~

E E

2

-1 ------- 9 - -P 4---2--- 1---3-

4 I 2\>JL 3

3 3

_4 -------2 ---P bp -3- p 1

nr-o

.b * . i

- T fe------ ---------------P^~/L-b------------- 1---- p i ----- i--------

................................................. # , f

_------------ # i-------- i-------

z@5=z i ^ ------ "zzzz --------------------------------- ^p- i #g-----------------

2

P"2

3 2 2356


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E3 = # 21

i -

(3

i

2)

-4----- 2-

pi = !fe i t ?

*

* = '

t o

* * * 3

- = = - * - 5 .

-------------------------- 1 ^ 0 *-fc'- - - -- ..-

1 -*-

_#_ z= z z

--------------- ^ = i i ______it 1

-+ -

M . + 3= Z Z i .

................. ....4'..' # j e z z z..Z.......A

i ... 0 * V ....- j T -v i

.... *......* * ..... = : . :.... :----------------------------.... ........ ... ......... -w r

--------------------------------------------------- m I

2

1

U f a , Z Z _ J L 2

---- -------------------------# -------------------------- 4-------------------4--------- ----------------------- j A - Z . - . i

$ : ; .

2

H------ 1----- a...m ' -----------: -------------------------

? ' ............

4

0 ^ = - * -- J ? --------------------- 3----------- 0 ..... # -------------------

* V

. . .. ....... # - J a ......................'W A A

-------------------, 3

:----4 # ...................................... .

i > .............. ........ - .......- .......~ "...................................................... ............

2

2356 33


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i 8 - -

D - g, * flf ljP 4-L * 1 -1i L- T -..... -

1 h-i-

=i=

-4-----3-

D

- T

....r ...... m m , m 1 \> --------------------------i , i - " 3...." ...... ..a ...........i t 4____ a _ q...................... .......................... 4 " 4 I--------- * 1-------------------------- i----- --------

^ 4 Mjk L...............-................... ........... ....... m 1 -

J ! 2 -------------------------------- x- % m ------------ ----------------------------------- ----------------------------------; ----------------------#

2 1

i

S A k k t . ^ ----------

D - A j E

4 L 2 2 U21 5 # i ^ - g # . . = ^ -

----------- d h i # l 4 2 l 8

# A ' D ----------

. - i r i 1 __________,2------ ...4

w ) 2b --------------------------------------------------------- 1>

i 8 - - -

l | M .....T ........................................... .....? ~ ' T 1

.....1

2 D A

# .....

E 1

A 8 " e

? & * ^

-------------- ^ * T 4 2 T + -p *> b ; ..- g ----------- ? - --------------

3 4

w.......

4-----* ---- 4----- i-------------------------------------

2 1 I

2356


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(4)' 1 3

*- 1

> L'P. It ----------- ht-i-------- # ~ #-------- --------- 4 ------------#ti-------- r_....................... # ^ ^--- --------- #---------- ------1 *---: y 7 T ... :-

----------- -------------------- ^ _. - i @ . - y - - ............ - -9------------ :--------------------

3 8- - - - - - - t 3* , * _ * M. M

. r ~ t ^

1------

o f o 9 v \> ------------------------------------------------------------------------------------ 0

L - i - * ---------------------------< * ------------------------------------------------1

1

1

2

yz i #.

n 2

At=*=4=

(2)' S k i

~wro

1 3

I

1"I 2

L- A D2 4

~aro

(4) (4)2

"P"0

- - - - - j 3

r t # m1**-m

8 ---------

p - 1 p

..............................i 3# m

{ / S i i -----------------------* j ------------- * i n ------------------ 0 i i A A mrmn v* m. 1 ~0m . . 0....VSj T l

2356 3 5


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(4) 8 - -

2 *- 1

, ______________________> - 1 ^*---------------------------# 5------------------i ---------- -

3M . J tL -0 - ----

^ f ^ ---------

M . 8j ' 3' "

...... t 2 _ I" * 1 T T z4 J

-

1

1.......... ..... ------------ ------------------------ 0 *

1

n 17 p.......... + m

H 1

-I 2

.m. -*-b# ~~

iD

ib # ~ .

: i i b -* - b # ..

: b # - L ~ ^ L~ ~ b # ~ ~ ~ ~ .b '* i 3

$ i=

2

J j i J s

1 [

4

$$ ~ * T

(2 43)

4 =fe

t ^

IP

52 GMC 2356


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ENTIRE SCALES

Practice in all the keys.

-41- -41-

Ww1

56 GMC 2356


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SIXTHS ON ONE STRING

Primary Patterns:

irm rm 11

Groups of eight notes. PATTERNS: Bl, Bl, B4, BHRl, R2, R4, R8

Practice in all the keys. Here, too, three different ways are possible:

1) shifting one step while maintaining the stretch of a fifth:

2) maintaining throughout the stre tch of a sixth in the manner of tenths.

3) "creep ing" fingering.

60 GMC 2356


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12

The Chromatic Scale

Groups of twelve notes. Use theA cce le ra tion E x e rc is e (page 5) in addition to

PATTERNS: Bl, B2, B3, B4, B6, B12Rl, R2, R3, R4, R6, Rl2

Primary Patterns:

* hi j r r n i n T n i i i

A l so s l u r two m easu r es .

IN ONE POSITION

# ; n* 1 1

*

iwr i 2 l

1 ~2

-i 7 4 3 , 2^ # |?*I -I".

i l : oi 41 2 i f * b"*-

-t t-

3 2 1 2 T

iI o .ll i " j(l li * I * - ? - t

K > * ' * ' 2 3 4

- p -

0rwr^r

W '1

exerc i se may be con t i nued into h i gher pos i t i on s .GMC 2356

6 1


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P ra ct ice a lso cm the D and A str in gs . All four fingerings may be applied to any string. Other

fingerings may be devised.

ON ONE STRING

1 1 & 1 * * ii

t ? * r >*>

a# . .T U p ,

Q.

2 ji 3- O -

3 , 3 2,2a . ba i 3 , 2 i . 4 3 2 i : k + : i t - \>j l X - i L i i L 4 3 , 2 t

o :

FOUR-OCTAVE SCALE


67/168

The Whole-Tone Scale

13

ON ONE STRING

Groups of twelve notes. PATTERNS: Bl, Bl, B3, B4, B6, BllRl, R2, R3, R4, R6, R12

Primary Patterns:

\ j t j r h r n f n o j w h t h w u 11


Play on al l fou r str ings .

G..V*

* * m---_ I 4~~ 3~

*"3 1 : 7 4 * b \>ml . H It - T * *

& .......... ---------------------........................................................................... 3 ...~ 1 'Hm " h 0 S ' * " ' ; * " >--------------------3 ---------------------------------------------------------------------------- ------------------- -----------------------------------------------

M ............ : ........> * q * q * ^ * 1 =

> q r ^ f f * 23 9 X 3

ACROSS THE STRINGS

Patterns as above.

D 1 , 3 2-e 3-

-4 -

3- tr-1.

3 4 1>* b#9-

$A 4 1

1---,---- *----- m--- * 4 i 3 , 2^ i4 - W ^ -3 a-

9 . # _ I 4 .=2----0------ g-- * ------CHF"

4 T

*

D D

-4---- 1-5?=

-4---- 1- 4 ------ 4- -4--- +-

GMC 2356 63


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t#- S'#

t~! j i i| iw

^ . # # * = =A ? ^ , . j .

-------- 4 v 3 1 =3=

:\rr-fZ m

2

-3---------- 1---- ^

\rr +

*CD

b# \{

^ ? tt? i

r > :

^ 3

* * $ -

I 4# 2

if

# f|)0 M

- , : -

- - - - - - - - - - - - -,

o j>--i fj# L -

$

T ^ - g * g * m L- 1-------------------............ * ?# r * ^

*7%^ upp er accid en t a ls repr esen t a second v ers io n o f the sca l e.

GMC 2356 67


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Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, B12Rl, R2, R3, R4, R6, R12

Primary Patterns:

i f n r n f i i j j j i?j m j m m j i s m m im n

A l so s l u r two m easu r e s ,


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i * * - ^ it . > - -fe

,= 4- o . 3 F

, (2)A

i i ^

E 8

^ = * j - 4

1 L 3

J = ^ b *A3

(2) A 3 :.y '

" F ^ "

*

A, ( 2 ) i \ > J

"? ' *4

GMC 2356 71


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-

3 :gJfiB-

31 $ -#-

" W (3

i

J_ k i

i ~ 3e :

tK

-(3-

* W **h r fit i ^ ^ t . >

=i =f

A

h i l *i $ - # - a 3 \?j J - J

72 GMC 2356


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$b

i L 2 L , E\}M- b'M- 2

- 3 --------1-------3------- 1-

b 4=^4

j j ~ 1f t _ . -

D , bi-tfc ii L . b* ~ t| ^

hr"

D

# , b# ij2 ...

E

-# ~t:

* , i =

$ y y

Groups of nine notes. PATTERNS: Bl, Bl, B'JRl, Rl, R'J

Primary Patterns;

? j t j m m ii


74GMC 2356


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A , 3

1 \>M--0--77-

b l

b l

bl ,= bi

L ^ kb#- p j -0-

GMC 235675


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CONTEMPORARYVIOLIN TECHNIQUE

Volume OnePART 2

Bowing and Rhythm Patterns

Catalog No. 1.2356

GALAXY MUSIC CORPORATION

a divi sion of

(ECS)PUBLISHING


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83/168

n vi) 0 0 0

v n2) 0 0 0 0

ONE-NOTE BOWING PATTERNS Bl

TWO-NOTE BOWING PATTERNS B l

THREE-NOTE BOWING PATTERNS B3

1) 0 0 0 2 ) 0 0

0 0 0 0 0

0 0 0 0 0

3) 0 0 0 4) 0 0 0

0 0 0 0 0

0 0 0 0 0 0

g m c 2 35 6 Copyright 1966, by Galaxy Music Corporation, for all countries, P r in te d in u . s . a .

a division ofECS Publishing, Boston, Massachusetts.

3


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B4 FOUR-NOTE BOWING PATTERNS

4 GMC 2356


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8 GMC 2356


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1 0 GMC 2356


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7) 8 )

GMC 2356 13


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B l l TWELVE-NOTE BOWING PATTERNS

1) 0 0 0 0 0 0 0 0 0 0 0 0 2 )

14 GMC 2356


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GMC 2356 15


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ONE-NOTE RHYTHM PATTERNS Rl

Every sequence of equal notes repres ents a one-note rhythm pattern, to be defined as therepetition of a single note, or of a note and a rest:

1)

IJ J

2) 3) 4)

All Primary Patterns in Part I belong to this category . Th ere is no need for fu rther examplesexcept for afterbeats and syncopations like these:

l) 2)

7 j j j j l l j> in ? n

3)

-j ? | | I u r 1"^ | -j k0 0\-0 I m-I0 0 -w m m

4) 5) 6) 7)

7 J r / X - J J II7 J> 7 J> II 7 7 JT "! Hi ? / T T p

8) 9) 10)

?J) ? j! j! II ?J* v y i i II i- J* J* */ J1

GMC 2356 2


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1) 2) 3) 4)____________ 5) 6)

*>i d ) n ii>777 ? *> i n iie I e ? i i n ii

jR.2 TWO-NO TE RHYTHM PATTERNS

7) 8) 9) 10)

77 ii H 7 ii n ii n .

1) 2) 3) 4) 5) 2 against 3

b) i j_ .f i i j ?i> ii n j ii ? in j jJ f ^ L T f

1) 2) 3) 4)

c) g J. J II J J. II J J>II J>J

5) 6) 7) 8)

I J J. II J. J II J-J> J II J JU II

9) 10) 11) 12)

I J Jl II J. > II J> J II J J-

22 CMC 2356


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R 4 FOUR-NOTE RHYTHM PATTERNS

1) 2) 3) 4) 5) 6 ) 7)

) iJT731srnii rmii rm ii r m nj m ii rimii8) 9) 10) 11) 12) 13) 14)

I3 j j 3 j } r3~)

rm.iii(t) rmii rmii rmii rm . nrm iirm15) 16) 17) 18) 19)

J II JrH'dJ III J. ] J J II J J J. J II J J ?] J

20) 21 ) 22) 23) 24) 25)

rmiirm. nrm11rm nrm.. 11rm1) 2) 3) 4)

wi r3Xrn iir~i-m11ns~n11n _ m5) 6) 7)

r m r m i ?m n y j 1n ru u ^ 11r i m j m

8) 9) 10) 11) 12)

j n j n - j ii J- 5 7 7 7 ii X T J L s ii >j . r m ii r n

13) 14) 15) 4 against 3

j 7j> ii j _ r 3 - r 3 . j in j j j j


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1) 2) 3) 4) 5) ( K 4 )

j n i i ' r r n j J r r n s j i j j t j ii j i j n

6) 7)

I j t t j ii j m

8) 9) 10) 11) 12)

2J JIJ J IIJ J ii>J II J. ; JT3 J II J i m II J J7TJ J

13) 14)

ii M n \j. i j.15)

i . , k ,, 3 + 2 + 3 , . i . ,

J. i J J> II 8 J. : n : J.

FIVE-NOTE RHYTHM PATTERNS R5

1) 2 ) 3) 4) 5)

) j j j j j ii r r m ii rrr~n ii m n ii r r m

6) 7) 8)

n m w r h n

9) 10) 11) 12 ) 13)

i(i) r r a i i m ii f r j j t j i i m n n n m

14) 15) 16)

r h n ii n f f i ii J r n nGMC 2356 25


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(Ri) i) 2)________________ , 3)

w 3 , ? i m m n n 11

4) 5) 6) 7) 5against 2

j%j i . n ii r \ n ^ r n njr u r \ n m r r r n

r r i ft r r

1) 2) 3) 4) 5) 6)

c> r m ii r r m nn m 11 n \ n m \ n> > > >

7) 8)

n m ii jrr3 m i

9)

2> n

10) i d

m iir,R i n 11j12)

/nin

13) 14) 15) 16)

m j J- 3 II h .H II 7 ! J f S II n ! II GM C 2 3 56


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R 6) i) 2) ____________

b>i ? ii> x m JT3 'j l l t 73 m i

3) 4) 5)

I iijn-ri-rnnfrir:im6) 7) 8)

4 n ^ n .n n ii n .- n n ~ m ii r y ~ r n s ~ n

9) 10)

n n n ~ n n

1) 2) 3) 4)

c>i j y r m iinrmnmmrmn5) 6) 7) 8)

r r r m m m nm m ii r m n

9) 10) 11) 12)

n r m j . r a j ii e j ^ j ii n j r n

13) 14) 15) 1 6 )

i j ii m u j~j ii j>j J>jm ii j * \ r m

17) 18) 19) ,---------------------------------------- 1

m i j n ii j n i m ii i m \m a j m

20) 21) 22)

2 + 3 + 3 i i i k * i k i i i i k * r " T i i i 3 + 2 _ + _ 3

8

23) 24)

m \ n \ in \ m

28 GMC 2356


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SEVEN-NOTE RHYTHM PATTERNS R 7

1) 2) 3) 4) 5)

>f /7JOTII jm JT J II JT3 OT IIJT3OTII OTJOTI

6) 7)

r n r m ii / r a . m iij j o t j ii /j o t j ii

10) 11) 12) 13) 14)

JSJ J53II O T/T31171OTII O T r S II jTJ J=T5S1II

15) 16) 17) 18) 19) 20)

r 3 ~i r 3~i r 3~i r 3~i i~ 3 ~i r 3~i _______________

1J .ffijjJ IIJ7JJ JjJ IIJ j j jj jJ II J JJJJJd II JJJJJJj IIJ5E J J5

1 ) 2 )

>>i ; = m i > i 4 L /t t j m 4 t r

3) 4) 5)

m /n n ii r r m n ii/rrrrn6) 7)

8) 7 again st 2 9) 7 against 37 7

24

i i i i i i i i i i i i i ij j j j j j j ii i j .....j ...j j j j ji i i i i i i i i i i i i i

"J \ I I I * 1"* I I I /"J \ I I I'f-'N I I |

r r r srir r r r r j -t r r e r r

GMC 2356 2 9


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(R7) 1) 2) 3) 4)

oim rmirm miirm mnrm m

5) 6) 7) 8)

m r m nm r m nm j > / n i l n / r r s

9) 10) 11) 12 )

j ii m r r ii ii r r r r m ii

13) 14) 15) 16)

i r m m nm r m \n m n ii r m m n

17) 18) 19)

m rm wnmmi}xrm m?ju

20) 21 ) 22) 23)

^ n ;j j M m j i m m i m j i m u m j j>ij j>ii

24) 25) 26)

3 + 2 + 3P H l i J i m i J I J n i J i J f t

5 0 GMC 2356


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EIGHT-NOTE RHYTHM PATTERNS R 8

1) 2) 3)

>I FT H FT FF II /3fT3 FTTT II FTTJ FT1F

4) 5) 6)

rmrm nrm rra irra rm7) 8) 9)

rm rm n/ra rm 11rm r a10) 11) 12) 13)

r m m i . i r m . r m nn r . i m un m n r .

14) 15) 16)

j j n n J j II r a n j j n II FTT1 j n j

17) 18) 19)

m ii r m / m . nm r a n

2 0 ) 2 1 ) 2 2 )

rmran njm ran nran nm i23) 24) 25) 26)

i r B f m ii m n S n r a m i r m m

27) 28) 29) 30) 31)

D fUJffCJ IIJ JJJ Jiid II}fti IT)II J71 J33SIIJSS/TJG M C 2 3 5 6 3 2


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Rs) 1 ) 2 )

>)31 'j n r m 17 ?j /3 i} ii 74 = /^ - *^ 3 ii

3)r r m j r ii ' r u m / m m . r a m

n m T R - F m II /T T /T 3 /T3 II

i ! n j ~ x n . r a ii W m n r m n

') s r~3 j j j j j j ii / m ii 'rm r r m

" r r a n ii j n j . j j. dj. j ii j f m r r r

7) 8) 9)

J J J J JJJJII J! 3 JJJJJ! 3 II J JJJJ X 3 3

10) 11) 12)

ir m iirrrr^ m ir m rro13) 14) 15)

rmrm ii/rm mnjttj m /316) 17) 18)

gv*nm mnn m m nmj J>m> > >

19) 20) 21 )

af a j t j r3 m nm n j t t j nr m j j t j> > > 3 2 GMC 2356


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fc-ro

ooco

NINE-NOTE RHYTHM PATTERNS R 9

1) 2) 3)

4) 5) 6)

m j n m ii j n n j m ii jo j m m

7) 8) 9)

m JT} m I IJT3JT3JT3I IJJ3j t j :j J J II

10) 11) 12)

j j / j j j j n u n n i s m nr m n s i i

13) 14) 15)

J JJJ J II JJJJ J II j J

16) 17) 18)

r r i m m ii m m r t i nn m n m

19) 20) 21)

r r m r m nr~ j m m nr m m nG M C 2 3 5 6 3 3


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R 9 ) 1) 2) 3)

>)m sn mim mmiim m m> > > > > > >

rnmmiim mm wm mm7) 8>r

t r m . n r m nx l r i m . m m m jw

1) 2) 3) 4 ) _______ _______________

o i n tF rm t\ m m m nm m m ii r a f f r m n

Fimfmt. Ft. i nj. j j. j j j. j j.iii j j j j j ii j j j j j j j j j ii

9) 10) 11)

i rsmrm ii j j j j j j mii j j j j" jim12) 13) 14)

FFFTt rm IIJ J. dJ. dJ m IIJ.JJJJJ JTT315) 16) 17)

2+3J n \ m \ m t ii m \ m \ m ii r t\ m \ m8

18) 19)

r n i r n i r n u i r n i f f n i

20) 21) 22)

3 + 2 + 3 m \ m \ m \ m \ n \ n T ] ii m \ n .\ m

23) 24)

m i r n i j~3 j j ii j. m i r n \m

24 GMC 2356


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1) 2) 3)

>2 n n j j j j j j j j i jm j t j t jj t s ii j t j t t3j t s j t4) 5) 6 )

n fh sfj i if i n jm rh ii m jf i rh n7) 8 ) 9)

j t j t t j t j iij j t j t t /t o t ii/j o t j t j j t j

10) 11) 12)

j nfmfhn iij m m m m m m i j t j t13) 14) 15)

j j t o t j o t i i j o t o t j t j ii j j o t j t m16) 17) 18)

j j w n H77 ii j jt t t j t t /3tt nj t t /sr j j t j t19) 2 0 ) 2 1 )

J JTJ JTJ JTSTIIJTTT3 r n J JTJIIJTJ/OTJ JTJ22) 23) 24)

j jt jJS53SJ iij mmv rhwmmj rhj

25) 26) 27)

JT J JT J3O T IJ J3OT JT JT II JT J3OT JT JG M C 2 3 5 6 2 5

TWELVE-NOTE RHYTHM PATTERNS Rl2


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ro

1 2 ) 28) 29) 30)

J J J JJJJJJJJJ ii j j j j j j j j j r n ii jjj j 'j t j

31) 32) 33)

JJJJJII JJJJJJ

34) 35)

j j j j j j j j j j j j l JJJJj j j j l j j J I36) 37) 38)

2 j-j mm ii nm n mm nmmnm n n39) 40) 41)n ii n r t t i J i f m i / f f 3 /r r t t j f j i i

42) 43) 44)

J J J J J J J JJim II J J J J J J J J J JII J J J J J J J J J J

45) 46) 47)

/f f l J"J"J J II J JT] II J .s3=r3.^ =: J"T1

48) 49) 50)

j- ] i j ? j s r 3 n f f i 1151) 52) 53)

r h j j f l j f f f } ii i r f a f f f i r h nj w r i i n b i n

5 4 ) 55) 56)

.T f e T n .m i i J i m m f m iij r m n m r t w

57> 58) 59)

j j j j j j i j FTTt ii r m j j j j Im n/ m j j j j j j j j iiGMC 2356


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4^


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Volume Two

DOUBLE AND MULTIPLE STOPS in Scale and Arpeggio Exercises

Catalog No. 1.2562

GALAXY MUSIC CORPORATIONa division of


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Contents

PART ONE: SCALES

I. THIRDS

A. Diatonic Consecutive Th irds ................................................................................................................ 2B. Thirds in Disjunct Motion ....................... 3

C. Chromatic Minor Thirds ....... 4

D. Chromatic Major Th ird s ....................................................................................................................... 5

E. Whole Tone Sc ales ................................................................................................................................. 5

F. Alternating Thirds with Open Strings..................................................... 6

G. Extensions............................. 6

n . SIXTHSA. Diatonic Consecutive S ix th s ................................................................................................................ 7

B. Sixths in Disjunct Motion .............................................................................. 11

C. Chromatic Minor and Major S ix th s ................................................................................................... 12

D. Whole Tone Scales .............................................................................................................................. 13

E. Alternating Sixths with Open Strin gs .................................................................................................13

HI. OCTAVES

A. Diatonic Consecutive Oc tav es .............................................................................................................. 14

B. Octaves in Disjunct M otion .......................................... 15

C. Chromatic Oc taves ........................................................................... 16

D. Whole Tone Scales ................................................................................................................................ 17

E. Alternating Octaves with Open Strings ...................................................................... *17

F. Extensions............................... 17

IV. TENTHSA. Diatonic Consecutive Tenths ................................................................ 18

B. Tenths in Disjunct Motion ............................................................................................................ 18

C. Chromatic Minor and Major Tenth s .......................................................................................... 19

D. Tenths and Octaves Combin ed................................................................................................ 19

V. FOURTHSA. Diatonic Consecutive Fo ur th s.............................................................................................................. 20

B. Fourths in Disjunct Motion.....................................................................................................................20

C. Chromatic Fo ur ths ........................... 21

VI. FIFTHSA. Diatonic Consecutive Fifths ................................................... 22

B. Chromatic Fifth s .......................................................................................................................22

VH. UNISONS

A. Consecutive Unisons....................... 23

B. Disjunct Unisons ......................................................................... 23

VHI. SEVENTHS

A. Diatonic Consecutive Sevenths..............................................................................................................

23B. Sevenths in Disjunct M otion .................................................................................................................. 23

IX . DOUB LE HARMONICS

A. Scales in Thirds ........................................................................................... 24

X. TRIPL E STOPSA. Diatonic Triple Stops in Consecutive Motion......................................................................................25

B. Diatonic Triple Stops in Disjunct Motion............................................ 26

M


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PART TWO: ARPEGGIOS

I. OCTAVES (Parallel and Fingered)A. Major, Minor and Diminished Triads ...............................................................................................28

B. Augmented T ri ad s .............................................................. 30C. Diminished Sevenths ..............................................................................................................................30

D. Dominant Sevenths and Inversions......................................................................................................30

H. VARIOUS INTERVALS

A. Triads in Sixths and Fifths............................................................................................ 32

B. Triads in Thirds and Fou rths .................................................................................................................33

C. Triads with Passing Tones in Various Intervals................................................................................35

D. Augmented Triads in S ix th s ................................................................................................................. 37

E. Diminished Sevenths in Various In terv als........................................................................................ 37

F. Dominant Sevenths in Sixths and Sevenths ......................................................................................38

III. TRIPLE STOPS

A. Major Triads............................................................. 39B. Diminished Seventh s..............................................................................................................................40

C. Fourth Chords ...........................................................................................................................................40

IV. QUADRUPLE STOPS

A. Major Triads..................................................................................................................................... . . . . 4 1

B. Diminished Seventh s............................................................................................................................. 41

nM?


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Preface

The second volume of Contemporary Violin Technique deals with double and multiple stops by way of scale and

arpeggio exercises. Together, the two volumes are intended to serve as efficient tools for building a technique to master the

violin repertoire of the past and present.

In the first (scale) part of this volume, most exercises are written in C but contain the note Practice in all keys. In many exercises, where crucial technical problems are at stake (such as scales in thirds, sixths, octaves, etc.) it is important to

follow this instruction conscientiously. In other exercises, though, a smaller number of keys might meet an individuals need.

However, those who want to get the maximum benefit from this book are warned against limiting themselves to the written key alone. By so doing they will severely handicap a balanced growth of their technique.

Where alternate fingerings are given, above and below the notes, care must be taken not to interchange them. Both

should be practiced and new ones may be devised.

As in the first volume, the notes are printed as unstemmed heads to facilitate the use of bowing and rhythm variants.

Double stops, by their nature, require fewer bowing and rhythm patterns than do the single stop exercises of the first

volume. However, the introduction of a few patterns is highly beneficial, once the exercise is mastered in its simplest form. The

patterns add a new dimension of technical challenge and besides minimize the danger of mechanical, unthinking repetition,

which is the chief cause of wasteful and inefficient practice habits.

The exercises are arranged in groups of either 6, 8, 9, or 12 notes. In order to avoid needless repetition within the text,

the basic Bowing (B) and Rhythm (R) patterns for each of these categories are listed here:

Groups of 6 notes:

B f ] n J i w f f t f J t ii

Hu /]. iintwm m i m u

Groups of 8 notes:

bn r ) r n iim n m rm j f f l nbrin /]. iin h urn iirm .nj m n

Groups of 9 notes:

bfp f n n )\\m m m m m m h

b m i i m m i i J T i i i m m m h

Groups of 12 notes:

bfn ] J ) JjLii m m m m fn m n r m %

n j) r n ) r m u m r j j j j j j j i i

Bm n ^ i i n i i / ] .i i m A ] i i m m u


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Table of Symbols

Symbol Def in i t ion

I, II, III, etc. 1st, 2nd, 3rd Position, etc.

D A E Designation of strings;

G D A a single letter stands for the upper string.

D ' Stay on the same strings.

G ,

1 ------------------------------------ Continue with the same finger(s).

11 |1__ ..... ..............1

Keep the finger(s) down.

or 1 .......H

h - Reach up.

- HReach down.

vi


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I. THIRDS

A. Diatonic Consecutive ThirdsGroups of 12 notes ( See pre face about bowi ngs and rhy t hm s.)

Pract ice in al l major and minor keys. *

Da) G

1 : i t * f t-4--------- 4 -

*1rfr*t i t i t i f

> ( ! (

i II t * * * * * t l

b)DG

AD

AD

DG D

DG

a}

| f i t **; i f i t * ** * * * * |(E,d )

AD DG AD EA AD

EA

EA AD

it t t

D)'E>


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F. Alternating Thirds With Open StringsGroups of 8 notes

Fou r di f ferent f i nger i ngs are giv en. Each may be appl i ed to the whole exerc ise.

Pr ac t i ce in C, F, G and D m ajor and their relat iv e harmonic minor s.

I/F

only- 4 F

D only

only2

0 4

j) only

24 24

2 1 "=Tar 4 * 8 m. Amgv-

G.ExtensionsGroups of 6 notes

1 2 l_

3 4 j

1 23 4

1 2 1 3 4J

$ . ut jf i t


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II. SIXTHS7

A. Diatonic Consecutive SixthsGroups of 12 notesPr ac t ice in a l l k eys .

$

5 only 3 2 3 2 |2 1 -1 - 2 3

3 2-24-

-24-

* #"2 2 1 2 AD

32DG

32DG

| p l(8)

2 2

1 ~ji0

33

o

g * 2

4 * 4

2 2?# 1 ^ g-

TT- ~ -ErAD

DG

AD

EA

AD

AD

Pr ac t ice the preced i ng exerc ise a lso wi th t he fo l low ing f i nger i ngs :

D only

' i-3---- 3-

~9---^| s e g u e2 2

f 1 s e g u e

4-3 -

m * ~ar

4 43 3

s e g u e \ 1 s e g u e

C M C 1


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Groups of 9 notes

Pr ac t i ce in a l l keys.

AD

8

I I / A

12

AD3

DG

Q , . 2 - 1r=------m.# - ...... ^ -----gp v... .....

~m 'm._ o w m I * # , 2 .... i ~JL ----1 i m 0 9 - m 0 -js m .............. 0 m * m-A...4 ......... 9W .....* .. 2 f \--------- 2 ---------' 3 ............ *-----

----- ^ ----- 2: #----- 4----- 9 9 m - ^

3 1 AD

EA

AD D

G

AD

EA2

AD3

DG

- 9 i i a .... i * ....^ ...I~~m 0 m ... - - m --#ip-----------------* --# --jp

0 ...* ..* ... ...# ------------j p-fin a 4 , - _ ------------------ 2 ------------------- 0 - 9 ---------- 1

L - 2----------i----------2 --------- 1 ..4...4 ..3-------y------ 4----- ------4--------- T * ^

1

AD

AD2

2 3 1

EA21

E

A

A

D

AD3

- f --------------4- # w ~ ^ 0 * .0 ------------- m.. m..0 - 7" JP Ai m ----- r 9 - # m0 i x ^ I --- -----------a ---------------- --- 4-4- 4------------ 4 ----- ------? * ..+

up* 0- J L

JEKl ,^ Z Z _ J i5 4 ------ is----- 33-3 -4 --------- 3------

----- 4--------- # 0 -4 2

3i1)

1EA

3AD

Al though the above fi nger in gs ar e usable for al l the keys, other f inger ings are better adapted

to the needs of any specif i c key because they avoid the obli que movement o f fi ngers f rom one

str in g to the next and thereby r esul t in a cl earer art i culat io n. The pr i nc ip l e is demonst rat ed

in t he fol low i ng th ree maj or and t hr ee minor keys and may be appli ed i n analogy to al l o t hers.

2 4 2

21

JBl

43 4

3-0-

43

-434-==*:

AD

EA (!)

AD

4 2-3-1-

i43 4 2 1i i \

( 3V20 2 2. )

-42-3 1

9 mi

GMC. 1.2562


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9

I I / A

A J Iminor ^ J?M

2 < f 8

4 2 43 1 3

jp #

(!)

GA/C. 7 .2 5 ^


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11I I / a

4 2

4 23 1

2 81 ,

Cminors

2 4 ? 4 2 4

J M _____* 2) .EJiZ.

_ k ------------ b^ ^ # . a .* .-4 -a _ -------- .---- --------1 + - * -----

L-E--------------------------------- 11.*. M "o * * "0

---- 3-------- * 0 Z 0 = J

D P2\VI/

4 2

ifc

4 2 4 23 1

4 8 -3 A

2 3 13 ^ j

i. m.M, .. -.... .... ..(P 1 4F.^ i__

43 4 2 A

u3 l gi r - #

3 2 4I 3

% a ;

(!)

2 4 f J

, 2 82 4 |

2 1 3 1 4 2i _ 00 +1r 3 1 - I 9 r = j .I t^ # * ---- -1-------0"0"\

" " ' 12 4

i 2 4 I 3

_. \ :0

4 o a-*4. 3 1 3 2 4 2

# ' jpj~ - -m..rn m m

f 1^ ^

---- ----- ; P* jb.^ 4P_____ # o m L ^ J J

D

B. Sixths in Disjunct MotionGroups of 8 notes

Pr ac t i ce in a l l keys.2 2

8

2

y i i 1 ^ 1 # * # -M..~ m 0 m ~ |"tfe-------- m 0 0 m'9 0 .-

: M ,, 0 9 9 m m -*O 9 0 _ J r . . ........

D

(8)

1 5

" 1 4

i k. 43 43

$

43

M=L

43

43

: * = * = --ii #

AD

DG

43

3E

43

43

43 4

3

AD

EA

(8) n 2l

y ............. * ^ ................ .. . .........0 .. 0 " 0.."M 0 r - * ..................................1 - #-ir - - - W - 4 ..# .... 1 \ .,X ------- 0 -9 - ----------------------- 1

ino H# * j g I - \\ * It* [IF-V jf51(5)*

E oA 3

f |y*-

* ^ |[* i f e f t

F s f t

2 134 3 4

f t s i n f r EA

2-4 -

-JL.

fl ,J>

i h......, 4 ........ 3 .... 4 ........

1 L i 13 4 3 2 1 2 1 2

X ---- rn* bi h-1..f/S u * ------iJ?* 4 3 -------------- - r T m 4 3--- =------ fc=4

----- ---------- ----------------------------- s:----n-s:----- t -m ----- \ J~m------------1 - f w ......... --------m , I Z J g -------- # j e = _ :

D

GMC. L 2562


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22

VI. FIFTHS

A. Diatonic Consecutive FifthsGroups of 8 notes

2 3

- H i i f o 0 1 2 _ m~^ ^ j p ------------- 1 ........... # _ . 1 0 3.... a_::

- / K r H ..I ----S------------2k Sf " 0 m w .............. ................. * m..g ...* ^ 1 ...

......# " # ' -------M0 m m ^ ,m .

...... ........... # 9 _

B. Chromatic FifthsGroups of 12 notesD 1 2 1 segue

-2-

22 2 \ segue

1-4--4 2-

.s e g u e

ipg ^ p#

2 3 1 2 3 { | J 1 J I | i 1 , 3 i { ! 2 1

ill: Til? ^ f t" -4 3 2 2 =3 s e g u e 3 2 2 s e g u e

3 23 , 2 ,b#

Ly..j P| " i l l1 2 2 2 ^

GMC. 1.2562.3


149/168

VII. UNISONS23

A. Diatonic Consecutive UnisonsGroups of 12 notes

Pract ice in several keys.

-G ------- l-----1segue----------..................

1 s!!

1U0 m w ^& j . ~ ~ " " --------------------- E--------------------- ----------------------- ------- A-----

DG D

B. Unisons in Disjunct MotionGroups of 12 notes

Pract ice in several keys.] 1 segueA _4 _ -M i

1

VIII. SEVENTHS

A.Diatonic Consecutive SeventhsGroups of 8 notes

Pr ac t i ce in severa l keys.

AD3

EA31

i 8 '- - -| 4

i 4 * A1 2 l f r42 42

~S------- 2 1 . ;-V--------------- . 0 0 ........ .. , T " #

m i... m . ...~ . * O------- 5------- # 4 A .. ....-ho O t>3 ..... * ........9 M o 4 4' ? i o j w * m A4 a w 9 ^ __

4 32 1

2 1AD

1EA

2AD

B. Sevenths in Disjunct MotionGroups of 8 notes4 4 4 4 3 94 4 Q 9 1 Z

42

A

42

42

AD

EA

t

s 3

i i i j . i - i_ j * . 3 : 3 segue

AD D

G

GAfC. Z.25&2


150/168


151/168


152/168

26

X / A

3 segue EI t H t * *

* T s-

* 13 segue4

EAD

4 If ^ i 4 4 l i t ! f \

segue4 4* 77ie two fi ngeri ngs may be m i xed: use the 2nd fi n ger w hen the maj or t hird, the 3rd f i n ger

when the minor third is on top.

12 segue

_3______,

EA

AD

-j? m -*r t ^ -g- - j- #

11W 0 -

=#=*=

34

EAD

ADG

B. In Disjunct MotionGroups of 12 notes

Prac t ice in a l l keys .AD , 4


153/168

Part Two

ARPEGGIOS


154/168

I. OCTAVES(Parallel and Fingered)

Major, Minor and Diminished TriadsGroups of 12 notes

N ot e: In the upper f i nger i ng of thi s exerc i se as w el l as in al l o f the par al le l - octave exerc i ses,

the th i r d f i nger may be subst i tu t ed fo r the four th .

E segue

4 10 2 4 0

segueE 2

0. segue

4 , 4 a # 0 o 4 : 4 6 w I \ T 4 ^ 4 o #

f i l ? 1 ? ? " j i f 1 * ' t J V ' * 3 2? r ' iz * n i

AD \2

w4

!usegue .4 f |Ap*----- #-z k :

8 1 - 2-f~T

2 M 4 Tw f i i I EA

U T fU ffo 3 I 1 AJ 1 D

1 2 E T?TI T f i 2 2 i 3 f - w1 2 3

i

4 A

2 ,1 A 2 . 0

m %m4 3 4 -

- 3 -

W ^ T

-8 -# -8

'2 * '1

-3- - 1 Jf>0 ^T 4 i

3 v1 4 If-

2 3

M I f ^

2?1 1 4 ,

2 3 3 1 2

\ >+

\ l e1 V J L - 3 C Z Z :

3= * =w 2 : 3 7 #' 1 ! 3 8 . 3

1 1 4 -#, 3f 12

1 1 42 ? 4 1 12 * *

$

A

< 4.

E

& ar 12

0 m * _ 4 . ^ ^ --------------- n---- o 45 43-*

, 2 1 2 I 8 i f 3 1 2 3 1 34 1 1 1 1 4 f -p ^ ? TT4 1 1 1 l3 j 21 1

4 72 3

* Fo r /us and JAe ot her minor arpeggios t he fo l lo w in g a l te rna t i ve low er f inger i ngs may be app l ied:

8 8"

, y...3...1 3 * 8 ?1 1 i 1 3 1 1 1 1 20 1

A2 L J 2 2A

GMC. 1.2562


155/168

8 '

1h i

'Ml-4-#-

3 # nf ~ i " ? # * T I S ^ * 3 * 4 ! j= f = ^ > } I a 1 f A 4 ( ! ? * } I i I 2 1 * * 1 *

D 1 D

9+

t

0 3 o ^ 31 1 1AD

M A 2 fD 1

rfe

A E 8 1 ALd -#- I -#- -0-D

m VJL mPAZZjB. m M.

5* -#- 4 #"^ 2 3i r M i n 3 ' 2 1 f 2 1 ? A 5 ? 3 5 1 ? 2 * ? ? A 2 51 1 D 1 1 1 1 D 1 1 1 1 D 1

3 3 2 1 3

41

2 20

8

= f = i-4----- 3-1 1 A

DA 2D

L i ' l ) I i 11 i i ' U i 1, ' i i i T; i ? t 'If1 D 1 D 1


156/168

30

B. Augmented TriadsGroups of 12 notes

I/ B

C.Diminished SeventhsGroups of 9 notesA41

ZM Z

tat

r t ? X------;---- -75---- Tt-Jj--90-h r f a ? h r

* r

20

31

A

1E

k = kT i f #

* |,# h r - * 1. -* T tt3 r-f- 3 5 1 i

1-T 3 3 1 14 1 1 E 2 ' fA 1

D

1E

\>_

T m I l r f1 2 f "* * -* tar It*- T * i

A 1 2 f ? 1 2 A t W |D n 1 1E

Z>.Dominant Sevenths and InversionsGroups of 12 notes

D only

2 4 -+4 segue segue

4 4 k1 1 - f

1* I?# ? 4 mm .1

4 i 2 " 2 i 4 3- * / l ? 9. 1 9 2 J

' # J|

M i * i J } t ^ F f 713

, 3 S 1 2 1 4 3

t f i 1 20 1

5 f2 1 4

1 2

V ^

n n t ** '

t>* " i

*ffn3 *

3l 2

CMC. 1.25ft2

f~ r .2 2 2 ? 41 2 f 4 I 1

M l t1 1


157/168

I /D

= 2 3

31

r f2 1

mr f? . , : i lT . * 74ajT-> in* Llt- f T4*?^i

* IT MtT * *?T rf#! * 5 * 2 '2 1

=*^0=

f r ' 5ft

1 2

1 22 1* 4 o1 2 3Z i

3 4- 0 It-

f e0 ay-#!

W2 5 1-^^r' fc#-*3 -0- a 4

tf2 1 3 4 *2 J 4 31 2 ? 2

0

\>J8'

=^0=* -40 - - 0 - 4 - 3 443- -34 - =4=4--23- -23- -32- -2--- 14- 4 1 32 1 1 2 1 2 1 1

5 i 4 3 0-2-44-

=5=4*=#=

8

4 3-41- Tt j fI ft42 432 1 2 3

4 * 0 42 t 3 &-

3=+=1 2

CMC. 7.2562


158/168

II. VARIOUS INTERVALS

A. Triads in Sixths and Fifths

Groups of 12 notes

m# -20-

I t p1

E3

# #..

* ^ '" r

E4

0 2

. 4 A

1Kgy.z zg: # *

.- # ^ #-

4 A

i -#-2 1 D.,. i-feSi # 2 4

i)

A 23 g m m

P(J T ~ r2 4

3)

,i4/2

2 D

# IZJE I m ' mm==mz 0 0 "=2=

200 0

T*&m _ mr.

r*{\ c? T T ~r i r


159/168


160/168

34

A

~~z:- 0 - 3 -

Io|b 5

GMC. 1.2562


161/168

n /cC. Triads with Passing Tones in Various Intervals

Groups of 8 notes

12

E43

35

0_- - - - - - - - -. . : . . . i : - * : ^ z i , r ^ - T T -

i ^ ^ S l ; # . S. t * . * . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . # # H $ : S = - 1 h # g J

f=p m m.... g T~ji 11 .......# j j S-o

E

2 (u

E4

b f t l d z i

=**

E

k# S # m l H

f

AD

1-2 - frar t t

i1 1 12 k#~*. 2

a ., 1

E4

k - 01 __^ _-K -____ |/g J

4

t*P S P S

=*= / 1 >

2 k#J& 5.5 kA2

- 4 -1 2Hi

1 2^ < i , f , ....~|... .. - f r y ^

A

5=*:PSyJKL 0*___ _JZM p# 1CT> 8

I l l feiak k y ~ f

AD24

iezz~zzac S E v~*~M j f e i

1.2562


162/168

n /c

36

f t p*

^*1F f l

E1

4 n 2

i

43

JL -f-A =#i*=

A 1 5 ^ 2

I i ' r ; ^ a# . |

i \

\ t * * *tt L ^ ..-. M --------- r

2

t - q

s t y * ' - ( i> "~I K

5 * * 5 *

0 4 3 2 ^ # - -* - lt * ^ J . 0J 3 m \w m n , 1 ---------- ^ * T l -gT

0 ............... .. ~

3 21 1

.."W"'# 't J|..'#..*- -...

: .............. : j J

2 EA - I 3

-0-_l 2 ------------ ., g . m -------

m * C At m 'a r - F r t l # t 4 -------------------- 3 g - - g _

i ? ^ # ( T ~ 1 ^

2 _#. -i- i 3

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

1 1

2 M ..

------- o 0 i $ ~m ^ ~

-------------------------------------^_ J

- + T T * 1 ____,........ . #. ..%.-m0--------

9 ? * " 13f I * * = J

1,1' * ~~-------------------------------- 0 i

1 2J * i

J j - ------------ m * m *

2

^ ^ - f * 1-------------- m m ^

> 2

i < m #----------

24

< .... i . . . _

-...... ... ^ 7m ^ M

* ry

f i f ; * ( r r : * m f m.... # ^_L--------------

.....

i/v A C M................. ......................# ..

1WPJ L

G3/C. J.25


163/168


164/168

38

n / FF. Dominant Sevenths in Sixths and Sevenths

Groups of 9 notes

1 3

2

3 .A4 23 1

f

4

3 4 23 i

-0------------0- 0-

4 2

* A

o 2 # * -| 0 * w

(0-+-m-

a , t j

> 0 0 * 12 4

4 - T - 3 -

(?)i: i 0 p

l

4 23 1

3 12 0 4

0- m %1 3 E0 2 il

3*L * -


165/168

III. TRIPLE STOPS39

A. Major TriadsGroups of 12 notes

Sample bowing patterns:

m

211

E221

.JL.

2

11

2

21

2

11

m mz

221

_#L

22

-4-

321

E211

2 3

i i

21

321

110

21

2 1 1 I 1l ^

211

iU'7 * * # * * # * m -m- Jm- -JK. I4 * m .--m*.m...2

321

-m -

221

211

8 3 2

2 2 1 22 1 1 2

1 ~ * - 1

n221

211

321

221

....# -m # -

2 22

1 1-- * . 1 ! 2I i * * : # : * ! !

2 22 2 1 ^ . 1 } 2 2? 1 1 2

432

:*=

3 2 1 2 32 2 1 3 1 2 2 2

y

3 p 2 ; 3

2 i l ^ i . 1 ? 2

. . *

2 421 11

3

1 1 2

42 2

? ? ! 1

I i i 1 * - L 1 00.0 0

* 5*

/. 2 5 ( ? 2


166/168

4 0

I I I / B

B. Diminished SeventhsGroups of 8 notes

(Bow in g patt erns as above)

321

segue

8'

IZA.

210

432

f t

8 '

j t a b#-

i 31 20 1

0

8*

3 d

2 3 o1 2 0

E432

( 8 7

t"5#- 4*=^

C. Fourth ChordsGroups of 8 notes

(Bow ing patt erns as above)

E1 segue

2 M.3 0 i# ~y ~a_- 3 "In

\ >0-I 0M. JE P0- -0 0 -

J> M-. \1^4^J g* 1 m mz.uD ' 0 - 0-0 0-

-00

2 3 segue3 i4 E

* * -----------2-0 - 2 o

segue w34

*

L fe*.L P#-kzzz

#0----------- 0-m

a"WFUM l #0-

9------

34

m....mz

T t t34


167/168

41

IV. QUADRUPLE STOPSA. Major Triads

Groups of 6 notes

Sample bowing patterns:

fn* H T ^ ~ f l t , l f y * -W * ? , !. K* ^ y

; t ; ; */--* - - ::n - - .* - i' - ^j^Y 7 T TT f ? 7 7 ffg*T 7 ~ 7 * T ' T I

3. |it4 1 3 L3 1 3I K*. _ j* .

3 L 3 kj L 3 o

, " b * _ _ W L

, |3 1 33 b#- 3

^ ,b it . ~ j ~ a k * . 2 :

o 3 33 J t ~ Z. M . 3

:Kmz 9+-

T 1

B. Diminished SeventhsGroups of 8 notes(Bow i ng pat t erns as above)

seguet

m + z : l jj tmU r T F


168/168

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Galamian Contemporary Violin Technique[Scales] Translatable MULTIPLE LANGUAGES