MAT/ . IAHONSON

BOOK ONE

a concise two-volume edi t ion of theinternat ional ly famous method bY

RUDOLF MATZProfessor of Cel lo, Academy of Music,

Zagreb, Yugoslavia

compi led and t ranslated bYLEV ARONSON

Professor of Cel lo, Baylor Univers i ty

edited bYMARTIN S. S ILVERBERG

PREFACE BY CNEION PIATIGORSKY

fiUL Ti ' iOi ' l i . , : I i - ' -r ; j i l i - \ ' Li ' jRAR?{ [ - i : r r r , , - " : : c i . . l , - , ' : r i ' ; ' r i r r i , ' ' - ) r e . )

tA MUSTC CORpORATION/sole agents ALEXANDER BROUDE, lNC., 225 West 57 Street, New York, N. Y. 1001{

Foreword

Preface

Introduction.

CONTENTS

Constint-Speed Borings with thein Qen-string Double StoPs

D<ercises for tlre EasY Ctranging

J. -1.1

Sare Parb of the

frcm string to String

A. Glossary of Terms and Symbols Used in th is Book

Basic Str ing and Finger Designat ions

Bowing Indicat ionsPJucking and "Petcussion" Indicat ions

Patts of the Bow

S o m e C o m b t n a t i o n s o f t h e P r e v i o u s S i g n a n d N u m b e r S q n b o f sFinger ing and Str ing Sgmbols

B . Co r rec t P laY ing Pos i t i on '

Posi t ion ing the Cef fo

GtasPing the Bow

Separate Bowings - Preparatory Exerc ises ' 6

PJacing the Bow on Str ing I I

Bowings on St t ing I I I

Sjmul, taneous Bowings on Strings II and III

chrapter 2 c}-ranging ard connecting Bcx,v strokes I

D .

ftapter f

Ctrapter 3

Chapter

Cttapter

The Posi t ion of the Lef t Hand

How to Pract ice

BOOK CD{E / PARI CD{EFjrst StePs

Qen-String Bo,.ling Ctrarrgjng Strings on a Bcx,.r Stro]<e

A. Preparatory Exerc ise for Changing Bows

B. Exerc ises for connected Bowings - Detache - Legato

C. An Exerc ise for Comparat ive Amounts of Bow Movement

D. Constant-Speed Bowings wi th the Same Part of the Bow'

Half-Step D<ercises on One String

Placing the Fingers on the Fingerboard

89

1 01 0

1 1

L 2

T4

14

rt{ARI r9i6

Chapter

Chapter

Chapter

E><ercises with Half Notes on T\lo Successive Strinqs

The Clarification of Intonationthrough Left-Hand Percussion Strokes, Attacksarrd Pizzicati (the pnwer coming aJwags through the knuckles)

E<ercises for Finger Dexberity

I 5

1 6

L 7

1 9

IO

Intonation E:<ercises

Dcercises in Conir:nct

Movement. j-n Quadruplein Sk ips o f Th i rdsin Sk ips o f Fou r ths .

Usilg an Adjacent Open String

Scal-es, Skips and Arpeggios

M a l - a r

2 I

2 LZ J

2 42 42 5

2 9

3 7

3 74 04 I4 24 2

4 5

/1tr.

4 6

4 7

4 84 8

A . C o n j u n c tB. MovementC. I4ovementD. MovementE. Movement

i n Sk ips o f S i x thsrn Arpeggiated Chords and Chromat ic Scales

Chapter

Chapter

*rapter 13

A .

n

Bc,v'Ied Etrdes in O:arter Notes

Shifting Fingers on a String.

A. F i rs t -F inger Gl issando shi f ts : whoLe- and Hal^ f -s tep l " IovementsUp and Down Individual- Strings

B . F i r s t -F inge r G l i ssando Sh i f t s : Sk ips o f Ua jo r and M ino rC . Pe r fec t -Fou r th G l i ssando Sh i f t s Emp loy ing the F i r s t andD. Shi f ts of an Augrmented Fourth or a Dimin ished Fi f th

l1

L2

ThirdsFourth Fingers

E. F inger Subst i tu t ions on the Same Note

Basic Fingerthanging Processesfor the Independence of Filger Action

Pre l im ina ry Exe rc i sesPre l im ina ry Exe rc i ses for Al ternat ing Groups of F ingerson Two Str ingsExerc ises in which a Finger is Moved f rom Oneto the Same Place on an Adjacent Str ingExerc ises where Two Fingers Change p lace

S t r i ng

(The fingers "dance a polka,)E. Shift ing Two Fingers Up and Down

(a) Chromatic l4ajor S:xths jn(b) Chromatic Majot Sixths(c) Chromatic Perfect Fourths(d) Augmented Fourths

Two S t r i ngs .Parrs

Grapter 14

Postsctipt: The Tenor and TrebLe CLefs

Eleven Pieces for CeIIo ard piarp

lVocturne / SoLemn pteLudeM i n u e t / R o m a n c e / B a s s oA FoJk Song / SaLtarel-Lo /

D<ercises in Plasticity and Flexibilityof Fingering and Bo,,ring 4 9

5 3

/ Melodg / DuetContinuo / Sunng Dag

The Wind Scouring the Fiel_ds

i v

54

r{pK (,[,lil / PARL' Tv{)

The Studg of GLissando shi f ts , Stretches and Posi t ions

Chapter 15 Stretch and Position Ctranges.

The Study of Stretches and Posit ions

Ear l y Concep ts o f Ce l l o F inge r i ng

The Problems of Enharmonic Notatron.

64

&&656566666666

67

69

The Problems of

The ImportanceForearm Angle a

Hand ExtensionsA FinaL Word

Hand Movementof the Secondnd Mot ion

Fingerr/Thumb Axj-s

Chapter

Chapter

Chapter

A .B .

Chapter 19

Chapter 20

Chapter 2I

Chap@r

Chapter

Chapter 24

Chapter 25

l6 The Glissando (or Slide)

L7 Shifting fron the First toby l4eans of an OPen String

IB Shifting frcrn ttre First tobv Iuleans of the Glissando

the Fourth Position

the Fourth Position7 L

717 2F in i sh ing the Sh i f t w i t h t he Same F inge r '

Sh i f t s Emptoy ing D i f f e ren t F inge rs

Shift ing ftom a Lower Finger in the Lower Position

tz an upper Finger in the Higher postt ton, and vice versa;

Shift ing from an Upper Finger in the Lower Position

to a Lower Finger in the HiQher Posi t ion, and v ice versa

The Si en Possible Glissandl on Orre Stringwhen shifting from the First to tlre For:rth Position

rcises for Elbcnv FlexibilitYUsing First-to-Fourth-Position Glissando Shifts

D<ercises for Correct Finger Posture dr:ring Position SLdfts

Relat ionships between the Fi rs t and Fourth Posi t ion

(DoubJe Possib iL i t ies of PJaging Certa in Notes)

22 Tlre HaIf Position

23 TLre First and the Raised (or D<tended) First Positions

7 4

7 5

75

77

7A

7 9

83

a2

7 9

A. The Close and open Fi rs t Posi t ionsExercises for Shift ing from the Cfose Fi rs t

to the OPen Fi rs t Posi t ion

B. The Raised or Extended Fi rs t Posi t ion

The Close and tlre Raised (or Dcterrded)

The Close and tlre Raised (or Elcterded)

Seccnd Positions

TtLird Positions

A . The C lose Th i rd Pos i t i on .B. The Raised or Extended Third

85

8587Posi t ion

v

Orapter

A

R

D .

F'

26 Shifting from the Close Thid

to the Open Fotrrth Position and Back Again

Sh i f t i ng Pos i t i on wh i l e A f te rna te l y Expand ing and Con t rac t i ng S t re t ches

A P repa ra to ry Exe rc i se f o r a Who le -Tone Sh i . f t

w i t hou t Expand ing the S t re t ch be tween the F i r s t and second F inge rs

Expanding the st retch between the Fj - rs t and second Fingers

whi le Al ternate ly Shi f t ing the Second and Fourth F ingers a whofe Tone

A Preparatory Exerc ise for Shi f t ing the Ent i re Hand a Whole Tone

r.hrnrrch E' i noer subst i tu t ions on the Same NotesL r r r v s Y r r

w i thout Expanding the Usuaf StretchExpanding the st retch between the Fi rs t and second Fj -ngers

wh i l e Sh i f t i ng Pos i t i on by A l t e rna te l y Subs t i t u t i ng t he Second F inge r

for the Frrst or the Fourth F inger for the Second on the Same Notes ' ' 89

Sh i f l i ng Pos i t i on and Expand ing the Usua l S t re t ch

by obl iquely Dropping the Fi rs t or Fourth F inger a Hal f or Whole Tone

Higher or Lower

shr-ifting frorn the For:rttr into the naised Third Position'and Back Aqain, through Finger Sl-ides, Substitutions

8 8

8 9

89

9 0

Chrapter 27

and Stretches

Var ious Shi f ts between Two Str t -ngs

Chapter 28 Thre Close and Open Fourth Positions

A . The C lose Fou r th Pos i t i onR c h i f + i n a f r n m l . h a A n o n F i r q f

v r r r r e r r ^ J

(a) wi th the Same FingerPos i t i on i n to t he C lose Fou r th Pos i t i on .

(b) from the Lower to the tJpper Finger

(c) from the Upper to the Lower Finget

C . Sh i f t i ng f r om the C lose F i r s t Pos i t i on i n to

Lowered Fourth Posi t ion(a) with the Same Finger(b) from the Lower to the Upper Finger(c) from the tlpper to the Lower Finget

the Open

Exerc ises in Shi f t ing f rom the Raised Fi rs t Posi t ion

to the Close Fourth Posi t ion on the Second Str ing

Further Exerc ises in Shi f t ing f rom the open Fi rs t Posi t ion

to the Close Fourth Posi t ion.(a) with the Same Finger(b) from the Lower to the Upper Finget(c) from the upper to the Lowet Finger

F. The Open Fourth Posi t ionG. Exerc ises in Shi f t ing f rom the Close Fi rs t Posi t ion

to the Open Fourth Position on the Second StringH. Exerc ises in Shi f t ing f rom the Close Fi rs t Posi t ion

to the Open Fourth Position on the First String(a) with the Same Finger(b) from the r,ower to the UPper Finger(c) fron the Upper to the l-pwet Finger

I . Further Exercises in Shif t ing from the open Firstto the Open Fourth Position .

(a) with the Same Finger(b) from the Lower to the Upper(e) fram tb Llep.t th tl?[ Iovct

9 2

9 3

94

9 5D .

98

9 9

Posi t ion

]00

FingetFinget

vi

. 101

J .

L .M

N .

Exerc ises for Transferr ing the Close

or Fourth F inger f rom the Fi rs t in to

Var iat ions on the Previous Exerc ises '

Var ious Shi f ts to the Fourth Posi t ion

The Ra ised Fou r th Pos i t i on

Changing f rom the Close Fourth Posi t ion

to the OPen Raised Fourth Posi t ion

BOOK ONE / PARI THRffi

The upper Posi t ions and thei r Approach

through F inger-Extension Changes

T/te RelationstLip beb^,een the Fourth ard tlle "octaveil Positions

Close, open and Extended "octave" Posi t ions

Relat ionships between the Fourth and "Octave" Posi t ions

Preparatory D<ercises for the Correct Placenent

of tLte left l{ard in "@tave" Position

Extension rcises Hrploying the FourLh Finger

Exercises for Extension Changes

and Open Stretches o lt he Fou r th Pos i t i on .

t he F i r s tI U J

t 0 4r 0 5I 0 7

t 0 B

Chapter

A

B .

Chapter

d:apter

Chapter

Chapter

29

'r'ne

Some

J U

3I

J Z

. r09

. 109

. t l l

. L L 2

. 1 1 4

betwebn tlre Second and Thr-ird Fingers

33 Shifting ure First Finger while Keeping a Whole-Tone Stretcht

between Fingers T\no and Three

Chapter 34 octave Leaps Using an Internediate l4ajor or i{inor si}rth

as a Bnidge

Ctrapter

dnapter

Exercises for Octave-Leap Security

Simultaneous Position and String Changes,Soneti-nes Using Octave Leaps -

35

36

r 1 5

L20

L 2 I

L22

L23

Further variations combining the Lower and upper Positions.

stretch Extensions between Fingers to tlre Interval of aon tfe Sane or Different Strings

D<ercises in Playing CLrronatic Scales and Ar?eggioson the Diminished Seventtr Grord

for Eleven Pieces for Cello ald Pialo (Book One / Patt One:

Contents of Ttre Ccnplete 99f8, Bod< tho

. L28

Fourth. 1 3 r

Ctrapter 37

Chapter 38

Cello Parb P 54 )

r34

1 3 7

L42

vll

FOREI^DRD

when ce l l o t eache rs ge t t oge the r a t conven t i ons , o r p r i va te l y , o r a t

m a s t e r - c l a s s s e s S i o n S , t h e q u e s t i o n m o s t p r o m i n e n t i n c o n v e r s a t i o n r s

, ,wha t t each rng ma te r i a l a re you us ing? " - o r , " IS t he re someth ing new be -

i ng pub l i shed bes i -de the so -caL led ' new ed i t i ons ' o f t he twen ty - f i ve -yea r -

o ld me thods?"

The fac t r s t ha t no th ing new has been b rough t ou t , and p rog ress i ve

exe rc i ses i n au tho r i t a t i ve ed i t i ons a re a lmosL nonex i s ten t ' Mos t me thods

g j . v e s l i g h t r m p o r t a n c e L o t h e f u n d a m e n t a l s a n d o f t e n j u m p t h e S t u d e n t t of l - ' a €n r r r r l ' r noq i t i on w i t h ha rd l y any p repa ra to ry ma te r i a l ' I n sp i t e o fL l l s ! v u ! u 1 r y v u : !

t h i s , t he popu ta r i t y o f t he ce l - l o has g rown s tead i - I y '

A year or so ago someone brought me a book of etudes and scales by

Rudo l f Ma tz . A i t e r l ook ing i t ove r ca re fu l l y , I became more and more i n -

terested both in what th is wonderfu l man had to say and in what h is meth-

od mean t f o r a new gene ra t i on o f ceL to s tuden ts . I asked ques t iOns abou t

the o r i g i n o f t he man and h i s whe reabou ts f o r I f e l t I mus t see h im , t a l k

wi th h im, and examine the addi t ional , th i r ty-one volumes l is ted on the

back page f the book I had. Eventual - Iy 1 d iscovered that Rudol f Matz

was a p ro f sso r o f ce l l o a t t he Academy o f Mus i c i n Zag reb , Yugos lav ia '

I t d id not take me long to f ly there - we met and became the best of

f r i e n d s .

p r o f e s s o r M a t z ' s I o v e I y p e r s o n a l i t y , h i s d e d i c a L i o n t o m u s i c a n d t o

his rnst rument , and h is k ind,ness and s impl ic i ty made me rEaf ize that here

was not only a wonderfu l music ian and pedagogue but a great human being

as weI I . We ta l -ked for days about ce l lo methods and the present-day prob-

lems of technique, and we exchanged thoughts and ideas enough to f iL l an-

other th: . r ty- two volumesl I was determined to make h is works known in the

Un i ted S ta tes , and we f i naLLy ag reed tha t I shou ld condense h i s g rea t t r ea -

t ise in to two volumes which were to progress step-by-step f rom open-st r lng

p lay ing Lo the l eveL o f v i r t uos i t y . Th i s I have t r i ed t o do '

I t is my earnest hope that teachers and students a l ike wi l l benef i t

f rom the work. And now when teachers gather to d iscuss Lhe problems of

teaching materra l , the answer can be in the af f i rmat ive: something new

iras been publ ished!

I dedicate this condensation to my beloved teacher and friend' Gregor

Piatigorsky, to whom I .rm eternally indebted for his influence and f,or the

guidance and insplration which he has given me over many years.

V J T T

Lev Aronson

PREFAG

There has long been a need for a s tudy of ce l lo technique that is both

comprehensive and deta i led. Professor Matz, in h is th i r ty- two-volume

or ig inal , has covered every aspect of the fundamentals of ce l lo technique'

The chapters for beginners, the etudes based on those chapters, the ex-

p lanat ion of the s ix teen basic f inger-changing pat terns, the preparatory

exerc ises for scales, the scales themselves, the thumb posi t ion, the r ight-

hand exe rc l - ses - a l l shou ld be o f g rea t bene f i t t o ce l l i s t s .

Great credi t is due to Mr. Lev Aronson, not only for ext ract ing a

pract ica l d igest f rom these volumes but a lso for ampl i fy ing Professor

t ' l la tz 's analys is of each successive problem through deta i led explanat ions

and much new mater ia l o f h is own devis ing '

Mr. Aronson has d iv ided th is d igest in to seven progressive par ts ,

placing each chapter into its proper niche in the logical continuity of

development f rom open st r ings to v i r tuoso technique. His t ranslat ions are

cfear and conci-se and the text has gained much through his own erudition

and exper ience.

This book should be welcomed

tain it wil l take its Place amongby every student and teacher. I arn cer-

the f inest in i ts f ie ld.

Gregor

ax

I}fIRODUSIION

A. Glossary of Terms and Synrbols Used in this Book

Basic s t r ing and Finger Designat tons:

r = f i r s t s t r i ng ( t uned to A )

I I = second st r ing ( tuned to D)

I I r = t h i r d s t r i ng ( t uned to G)

rv = four th s t r ing ( tuned to C)

open s t r i ng

L = f i r s t f i nge r

2 = second f inger

3 = th i rd f inger

Q - four th f inger

Q = thumb

designated Posi t ion unt i l

s t o p s .@ o t @ e tc .

Bowing Indicat ions:

arco

n

V

. n v '

rr-n

ll

s =

and "Percussion"

PLzz. =

ot +pLzz. =

= To be plaYed in the

the hor izonta l l ine

To be PIaYed wi th the bow'

down bow (in which the bw arm js movd awag

fton the bdy horizontaTTg towatds the right) '

up bow (in which the bw arrn is movd tovards

"-ri ""ro"s the bilg hotizontaTTg towatds the left) '

To be practiced with up and down bowings'

To be successively pract iced on a l l four

s t r i ngs .

To break or interrupt the tone for an instant'

To separate two or more notes without inter-

rupt ion of the tone. (This is an in tegra l

pa r t o f Ph ras ing . )

Indications:

The pizzicato. To ptuck a str ing with the

fingers of the right hand.

To pluck a string with a finger of the left

hand. (This technique is useful for percus-

sive attacks in slow tempi.)

Plucking

pizz.+

Parts of the Bow:

OT

ot

= To be plaYed at the frog '

When placed over or under a note ' this means

lo pt la , l " " that tone by percussion - that rs '

a ; ; " " a speci f ic f inger of the le f t hand as a

piston, dropping i t perpendicular ly t ld- : l : l -' con t ro l l ed

f o r ce , ye t p l i an t l y , Ypo t a spec l -

i i "a =at ing. (The purpose of th is procedure

is to develop *"""" - lu t s t rength ' f inger a ler t -

, r .s" .nd c lar i ty of response in running pas-

sages where the f ingers wi l l have to fa l l in

an absolute ly metronomical rhythm' In p lay-

ing cant i lena passages ' the approach is d i f -

i . i " "a: one f inger takes over f rom the pre-

v ious one i n a l ega to mo t i on ' )

E[ - ]l - l

E

Some Combinations of the Previous Sign and Num'ber SgmboJs:

= To be PlaYed

= To be PlaYed

To be PlaYed

wi th the middle of the bow'

wj-th the tiP of the bow'

wi th the whole bow'I =I

2

1 -I -

7] =I

To be p layed wi- th one-hal f o f the bow'

To be p layed wi th one-quarter of the bow'

To be played with one-eighth of the bow'

= To be played with the lower half of the bow'

= To be played with the fourth of the bow about

i t s m idd le .

= To be played with the eighth of the bow at the

t i p .

* = The aster isk af ter a f ract ion - such as: L* -

ind icates chat the exerc ise to which these

slmbols refer is to be pract iced three t imes:

once each wi th that f ract ion of the bow near-

est the frog, about the middte' and at the tip'

Sgmbols:

= To p lace both speci f ied f ingers s imul taneously

,rpo-n . string. (this procedure can be used to

ant ic ipate the product ion of percussion tones

by other f ingers. )

= The finger specified in that portion of the

box of fset to the r ight (here ' "1") jo ins the

o the r spec i f i ed f i nge rs (he re ' " 2 ' 3 ' 4 " ) on

the string as soon as Possible '

tz

I ---------l: l - |

4 1 - l

I.I

ing

t-l

llj

Fingering and Str

B-- =

1++ 2

l--\2

The lowest f inger in the box is p laced on the

str ing sper : i f ied by the symbol to i ts le f t

outs ide the box; s i -mi lar ly , the other f ingers

are p laced s imuLtaneously upon the st r ing

rpu. i f i .d to thei r le f t . A st r ing symbor con-

t - ro ls aI I speci f ied f ingers to i ts r ight and

in downward l is t ing unt i l the next s t r ing sym-

bot aPPears below i t .

The f inger speci f ied in the box at the begrn-

n ing of the hor izonta l l ine remains on a spec-

i f ied st r ing for the durat ion of that f ine and

unti-l- the arrowhead terminates it '

To ra ise the speci f ied f inger and drop i t ob-

I iquely but wi th a ra i -sed at tack ing mot ion in-

s tead o f w i t h a p i s ton - l i ke d i rec tness o r w i t h

a g l issando movement on an adjacent s t r lng

from a preceding h igher or lower hal - f - tone '

This act ion creates a whole- tone "open st retch"

between the speci f ied f inqer and a prev lous

cne . (Th i s ac t i on i s pa r t i cu la r l y use fu l i n

changes f rom c losed to open posi t ions where

the " f ee f " f o r accu ra te s t re t ch and pos i t i on

changes i s f i r s t deve loPed ' )

Indicates that a

is ts between any

{< -+3 1

who le- tone "oPen s t re tch" ex-

two f ingers o f the le f t hand:

j +

L / 2 A diagonal- t ine between two finger numbers or

two notes denotes a g l issando running in the

di rect ion of that 1 ine. This technique is

general ly used in the h igher posi t ions because

of tn" smal ler d is tances between any two tones '

where i t contr ibutes to the legato feel ing be-

tween notes. However, i t can a lso be used in

the lower posi t ions to fac i l i ta te movement

across st r ings, in four-note pat terns ' or in

octaves; in the la t ter , the thumb posi t ion on

the fingerboard is also used '

This ind icates that the thumb is to mainta in

i ts posi t ion upon a st r ing for the durat j -on of

the space between these slzmbols '

E f l =

) d

Correct Posieion of the thmlc at the frog

:'i

Correct Position of the bo,v on the cello

3c

Posilion of the hand with the bor at rnidpoint

Posilion of tlre boP at the Point

Position at tlre frog

B . Correct PlaYing Position

Something should

s i t i o n o f t h e c e 1 1 o ,

hand and the f ingers ,

we l - ] as the Pos i t ion

be sa id a t th i -s po in t about the cor rec t p lay ing . po-

t h e c o r r e c t p o s i t i o n o f t h e s h o u l d e r ' t h e a r m ' t n e

the grasp o f the bow and the ba lance o f the bow' as

o f t h e l e f t h a n d o n t h e c e f l o n e c k '

Pos i t ion ing xhe CeJ- l "o :

The basrc pos i t ion o f the ce l lo shou ld be as i t was be fore the end

p i n w a s i n v e n t e d . T h e n a t u r a l w a y t o p o s i t i o n t h e c e l l o i s t o t a k e t h e

ce l lo be lween the knees and s l - ide the Lnd p in down unt i l i t touches the

f l o o r . T h e c o r r e c t p o s i t i o n o f t h e i n s t r u m e n t w i l l d e t e r m i n e t h e c o r r e c tos i t ion o f bo th hands and arms, wh ich w i I I be l i ke the two f lex ib le wrngs

f a b i r d . F l a n d s ' a r m s a n d s h o u l d e r s s h o u l d c o n t a i n a s u b t l e , t h o u g h n o t

s u d d e n o r b r o k e n ' c u r v e t h r o u g h o u t . T h e d i r e c t i o n o f t h e b o w w i ] - 1 t h e ndetermine the ] ie of the hand '

Grasping the Bow:

T h e c o r r e c t g r a s p o f t h e b o w c a n b e o b t a i n e d i n t h i s m a n n e r . P a l mdown, oppose the thumb ancl midd' l-e f inger of the r ight hand so that they

' i ' r ' { - + 'n r rch rhFse f ingers can now be worked in and ou t a t the f i rs t

l ; i l . '= ; ' ; r . , . . ' l i " i r jo ined t ips seem l ike the head of a s t r ik ins snake'

w i t n t r , . b o w t i p t o w a r d s t h e s t u d e n t ' s l e f t , t h e f r o g o f t h e b o w c a n n o wbe int roduced between them in such a manner that the f rog is held at the

l i t t l e h i l l o n i t s c u r v e w i t h t h e r i g h t s i d e o f t h e t h u r n b b e t w e e n t h enai l and the f fesh. I t wi I I be found that the bow can be held per fect ly

balanced in th is manner by just these two f ingers '

N o w , t h e t h i r d a n d f o u r t h f i n g e r s s h o u l d b e p l a c e d n e x t t o t h e m i d -d le one on the f rog. The hand should then be revolved about the wr is t so

t h a t t h e b o w t r p m a k e s a h a } f c i r c l e f r o m t h e l e f t t o t h e r i g h t s i d e o ft h e s t u d e n t a n d t h e p a l m o f t h e h a n d i s f a c i n g u p w a r d . T o i n s u r e t h e b o wfrom fa l r ing, the f i rs t f inger is then p laced on the f rog " l ight ly apar t "

f r o m t h e o t h e r s a n d s u b t } y a r c h e d . T h e f i n g e r s a t t h i s p o i n t w i l } b eseen to be in , ' respect fu l re lat ion" to each other - that is , wi th equal

grasping weight .

The hand is then revolved back to its original downward facing po-

s i t ion, the wr is t is ra ised a b i t , the forearm is turned to the Ief t and

the weight of the bow is applied against the string ' As the student

guides the bow by alternately pushing and pull ing it with the finger tips '

i t wilr be seen lnut tnu position of the thumb gradually changes ' rn a

down bow, the thumb becomes almost straight with its ball opposed to that

of the middle finger. In an up bow, the thumb gradually approaches its

starting position where its t ip again comes into opposition to that of

the mi-ddle f inger-

T h e p u r p o s e o f t h e f i n g e r s o n t h e f r o g i s n o t o n l y t o h o l d t h e b o w .since only the finger tips touch the frog, the fingers renain free enough

to perform another i:nportant duty: they control the bow. To repeat, in

down bow, the finger tips pull the bow; in up bow' they push' Thus' the

f i_nger t ips "p lay ' , the bow, as one woufd "Playt 'a f ish ing rodr so that

the bow becomes a "l ive" instn:nent in the student's hand. He controls

it, directs it, manipulates it, channels its rnoveurent and works in tan-

dem wj-th it. Thus, one could say that there are two instruments involved

in playing the cello: the cello and ttre bow.

Cnrror.t rnsition of the tht:mlc

Incorrect position of the thumb

. q ,

Cl. The Position of tte Left Hand

T h e c o r r e c t p l a c e m e n t o f t h e l e f t h a n d o n t h e f i n g e r b o a r d c a n b e o b -

ta ined in the fo t low ing manner . As w i th the r igh t hand, aga in oppose the

t h u m b a n d m i d d l e f j - n g e r o f t h e l e f t h a n d s o t h a t t h e y j u s t t o u c h , b u t t h i st i m e ] . e t t h e m i d d l e f i n g e r t i p t o u c h t h e l e f t c o r n e r o f t h e t h u m b . A g a l n It h e o p p o s i n g f i n g e r s c a n b e f - r e e l y w o r k e d i n a n d o u t . T h e u p p e r a r m i s

then ra ised a b i t away f rom the body . us ing the erbow as a fu l ' c rum' the

h a n d i n i t s o p p o s e d f j . n g e r p l a c e m e n t c a n b e S w u n g i n a n a r c s o t h a t t h ef i n g e r t i p s j u s t t o u c h t h e s t u d e n t , s m o u t h . N o w , m o v e t h e f o r e a r m b a c k

h a l f t h e l e n g t h o f t h e a r c , t u r n i t s l i g h l l y t o t h e l e f t , s l i g h t l y a r c ht h e w r i s t , a n d i n s e r t t h e c e l f o n e c k b e t w e e n t h e o p p o s i n g f i n g e r s s o t h a to n l y t h e f i n g e r t i p s t o u c h t h e s t r i n g s . ! . ] h e n c o r r e c t l y p l a c e d , t h e f i n -g e r s a p p e a r o n t h e D S t r i n g i n a s u b t l y c u r v e d m a n n e r a n d a t a p r o p e r d i s -

tance f rom each o ther ( the Leacher shou ld demonst ra te th is to the pup i l ) '

T h e s t u d e n t w i l l f i n d t h a t t h e l e f t c o r n e r o f t h e t h u m b a s i t l e a n sa g a i n s t t h e b a c k o f t h e c e l l o n e c k i s n a t u r a } I y o p p o s e d t o t h e m i d d l e f i n -

what should occur as the hand moves up and down the f ingerboard is

a f r e e a c t i o n o f t h e f i n g e r s r a t h e r t h a n a c o n v u l s i v e g r i p . , t h e t h u m bshou l_d never be used ao ! i , r " ad .d i t ionar suppor t to the f inqers above i t

b y p r e s i n g a g a i n s t t h e n e c x . R a t h e r , t h e f i n g e r s s h o u l d a l w a y s m o v ef rom a concent ra t ion o f power whose " focus" i s th rough the knuck les o f

t h e h a d i n a d i r e c t r i n e t o t h e f i n g e r b o a r d . E v e r y t h i n g a b o u t t h e h a n dr e v o ] - v s a r o u n d t h i s c e n t e r o f p o w e r . E v e r y t h i n g i s c o n c e n t r a t i o n o fp o w e r a n d o f s o u n d . I f p o w e r i s r e r t t o g o t h r o u g h t h e h a n d i n t h i s w a y '

the hand w i l l - more na tura l l y fa l l in to i t s cor rec t l ie '

F i n g e r s a r e n e v e r p l a c e d i n d i v i d u a l l y o n t h e f j - n g e r b o a r d o r o n a

s t r i n g . T h e y a l w a y s = . , p p o ' t e a c h o t h e r . F i n g e r l i s s u p p o r t e d b y t h et h u m b , f i n g e r 2 i s s u p p o r t e d b y I ' e t c '

F r o m t h e b e g i n n r n g , t h e s t u d e n t s h o u l d ' a l s o i m a g i n e a n d f e e l t h a t

each no te has i t s own d is t inc t p lace rn the f ingerboard . The board

s h o u l d . n o t b e a b l a n k p l a n e b u t s h o u l d b e t h o u g h t o f a s h a v i n g h o l e s i ni t f o r e a c h t o n e - a n d t h e f i n g e r s s h o u l d b e a b l e t o f i t e x a c t l y i n t oeach one. such a procedure w i l r rap id ry deve lop a rappor t be tween the

s tudent and h is ins t rument '

D. tbd to Practice

O r g a n i z e d p r a c t i c i n g i s t h e f i r s t s t e p t o S u c c e s s . T h e s t u d e n ts h o u t d f i r s t a p p r o a c h t h e a c t u a l p h y s i c a l s i d e o f p r a c t i c e c o n s t r u c t i v e l yand inte l l igent ly . He should check h is posture as he s i ts ' the posi t ion

of the anstrurnent in re lat ion to h is body and hands; not ice should be

taken that the shoulder muscles ' those behind the shoulder b lades ' the

f ingers of the le f t hand, i - ts thumb on the cel ] .o neck ' and the r ight thumb

o n t h e b o w f r o g a r e r e l a x e d b u t . , a w a r e , ' _ i n f a c t , t h e s t u d e n t s h o u ] - d t a k ea d v a n t a g e o f e v e r y t h i n g t h a t w i - l l h e l p h i m t o a c h i e v e t h e b e s t r e s u l t s i nt h e s h o r t e s t t i m e . H e s h o u l d r e m e m b e r t h a t t e n s i o n i s a s m u c h t h e h i n _d r a n c e t o p r o g r e s s a n d t h e c a u s e o f d i s c o r d a s t h e f r e e a n d d y n a m i c c o o r -d inat ion of a l l per forming e lements is i ts helpmeet ' Thus ' the ideal con-

ditions for perform..". . i" complete relaxation of the body in tandem

with a ler tness in the f ingers of both hands'

T h e o t h e r p a r t o f o r g a n i z e d p r a c t J - c i n g i s a n i m a g i n a t i v e a p p r o a c h t oaI I musical problems. Th; s tudenl should study technique analyt ica l ly

and should know ahead of performance what he wants to say and how he wants

t o s a y i t . I n t h i s ' ^ y , * h . t h e h a s l e a r n e d w i l l a l w a y s s e r v e a S t h efoundat ion for what he has yet to learn and h is goals wi l l ever be Clear

before h im.

OPEN-SIRING BCTilNG

PART O}TE

FTRST STEPS

GAPIER I

- CHA}{GNG SITRT}GS ON A BCT{ STROKE

Separate Bcxrings PreParatory Exercises

PTacing the Bow on SXring II:

s ince st r ings I I and I I I are the center of the inst rument ' thet tu-

d e n t w i l l f i n d t n a t t h e m i d d l e o f t h e b o w c a n b e p l a c e d o n t h e s . e s t r i n g s

most natura l ly , a t f i rs t ' achieves the t ransfer of arm and shoulder

weight through the bow'

rn the fo l lowinq exerc ises ' the pupi l p laces the bow on st r ing I I ,

pictures of bow placement on string is represented by

t. pt."".rted, explained and used in Chapter 2')

at the n iddle '

_

/ a

and at the t iP. J#

/a(Each of these

a syrnbol which wilL

T h e f i r s t e x e r c i s e i s t o b e d o n e w i t h v e r y s h o r t b o w m o v e m e n t s o fa b o u t o n e i n c h . T h e t a p p i n g o r f l i c k i n g m o v e m e n t s o n t h e p o i n t , a t t h em i d d l e , a n d a t t h e f r o g o f t h e b o w o n t h e s t r i n g a r e e s s e n t i a l f o r t h ebalance of the bow. The rests should be observed exactly' even counted

a l o u d , d u r i n g w h i c h p e r i o d t h e s t u d e n t s h o u l d m e n t a l l y a n d p h y s i c a l l yprepare hirnself for the subsequent movenents'

i

I

I

9.

. T

-.+-

, E A

7

-f.--, ------;l

t

' J M

: I I I pue I I s6urr : ls uo s6uTt4og snoaueT rnurrs

a-

t-YJ: I l - I 6 U r l f s u o s 6 u r A o g

s a - f n p a c o l d a q J ' - r a q f a 6 ( ) f , I I J p u p I I

s A p T d f u a p n t r s a L I ? ' t a s r c - r a x - j I u I

A

"El

. t r l r r d r . J 4 p a q T Po r s L l r r I

s s e v v t .

u o ' 9 A S r 3 . r a x g u r

a n o q p p a l l r T l n o

1 r T I 6 u r - 1 1 s u o

r;iluLJ

4 t?a--

,.1;r'El

' 6 u r f , f s

e q 1 l s u t e 6 e I l e s o l c l t d n d e q : l A q p T a q s T ' u r n 1 u t ' q o T q n l t o q e q ? 6 u t p r n 6

A q a : a q 1 ' r \ o q a q ? 1 o 6 o : ; a r { 1 q l T l 4 ; a q l e 6 o l p u e q e u I P S a l i l f o s r a 6 u t ; a q 1s p T o r { p u e q 1 q b - r : s ' r a q 3 p a : } e q l a T r q A / 1 s t - l t t a q : } f e p u e q l q 6 1 : s ' 1 r d n d

e q f s p T o q p u E L i f f a l s , J a q c P a f a r { 1 ' s a s r 3 l a x e o r ' 1 6 u t m o l T o f a q l u I

I n t h i s n e x t e x e r c i s e , t h e t e a c h e r a s s i s t s t h e p u p i l i n t h e s a m e

f a s h i o n a S a b o v e . D u r i n g t h e m e a s u r e r e s t s , t h e p u p i l t r i e s t o h o l d t h ebow in the correct manner without any help from the teacher who' of

course , s tands ready to cor rec t any er ro rs tha t may occur '

Th is exerc ise is to be per fo rmed arways us ing the en t i re p ray ing

sur face o f the bow. Phys io log ica l l y ' the i t roke f rom the f rog to the

midd le i s p r imar i l y invo lved w i th s iou lder ac t ion because o f the length

of the note, and from the middle to

t ion . When us ing the la tLer bow are i

c rease the we igh t o f the bow in o rde :

tone. However , the we igh t o f the bo '

str ing with both the shoutder and th

lead to too much we igh t and to "chok

g iven an unnecessary load o f power '

he ld w i th the same fo rce aga j -ns t the

r le bow as s lowly as poss ib le across

t h e s t r i n g s o t h a t e a c h s t r o k e m a y l a s t a s l o n g a s h a l f a m i n u t e o r e v e nlonger I

,%GIAHTM.

CIfl}TGI}G A}ID CONNFII}re BOVJ SIrROKES

In connecting two bow strokes, both the

ing the bow par t ic ipate. Whatever the force

is most important not to loosen the contact

and to(f) mentally Prepare the attack for the

next note dur ing rests;(2) maintain the same force \"hen attack-

ing each bar;(3) connect the bowj-ngs without interme-

diate accents.

A. keparatory E<ercise for Ctnngiry brs

wrist and the fingers hold-

of the changing action, it

between the bow and the string

H e , r e , b o w i n g i s p e r f o r m e d e x c l u s i v e l y b e c a u s e o f t h e s h o r t a g e o f b o wmovement and to r . .p i t " bow mot ion under comprete contro l - . To make cer-

t a i n t h a t t h e s t u d e n t d o e s n o t u s e e l b o w o r s h o u l d e r a c t i o n t h e t e a c h e rs h o u l d i m m o b i l i z e t h e s t u d e n t , s f o r e a r m b y h o l d i n g i t . W h e n t h i s e x e r -c ise is bowed at the f rog or at the middte, the bow moves f ive to Seven

inches ac ross t he s t r i nq ( see d iag ram l ' be low) ; bu t when bowed a t t he

t i p , t he bow i s t h rown o f f t he s t r i ng ' caus ing on l y a t ap ( see d i -ag ram

2 ) .

, - - - - - r - a

i ( )' \ . ,t* . - ( '

-i"+

, z - -

- - _ - . a

2 \ ( ), \ ;' - '<-?(--

I

B . D<ercises for Conrrected Bovdngs

Connecting tsowings on String

Chang ing a t the Frog

n6tach6 Legaxo

} E

Chang ing in the Midd le

In the above, p IaY each sec t ion severa l

is to be performed without interruption' and

t imes. The en t i - re exerc ise

the repeats must be taken '

The intensity and quality of tone depends on

(1) the proper bow movement and attack to

create equal sound vibrations through

equal lY d is t r ibuted weight ;(2) the raPid i tY of bowing;(3) the proper contact between bow and

str ing '

t - 2 - 3 - 4 - 5 - 6 r - 2 - 3 - 4 - 5 - 6

Chang ing a t the T iP

IO

T h e i n s t r u m e n t i t s e l f w i l l t e l l t h e s t u d e n t w h e n t h e r e i s t o o m u c h o rt o o l i t t l e w e i g h t t h r o u g h a S c r a t c h y , c r a c k l i n g s o u n d i f t h e r e i s L o omuch, and a l lgh t o r "wh is t le -y " sound i f there is too l i t t le ' By con-

cent ra ted l i s ten ing , the s tudent w i I I learn to ad jus t the we igh t o f h is

hand in o rder to p roduce the proper contac t w i th the s t r ings , and thus

crea te a concenEra ted sound in p iano as we l l as in fo r te ' The degree o f '

tone in tens i tY is de termined bY( f ) the a t tack o f the bow;

(2) the raP id i tY o f bowing ;

(3 ) the-prox imi - ty o f the bow to the

b r r d g e .

V e r y n e a r t h e b r i d g e , i t i s i m p o s s i b l e t o p r o d u c e a n o r m a ] . t o n e ' i n s t e a d ,

on fy a so-ca l led s iJ pont iceT lo ( I ta l - ian fo r "on the br idge" ) tone re -

su l - ts - a tone o f d ry charac ter is t i cs w i thout the normal s t r ing reso-

n a n c e .

e €>

In the exerc ise above, bowt -ngs shou ld be prac t iced w i th vary ing de-

grees o f a t tack s t rength and a t d i f fe ren t speeds, the lenqth o f the bow

used be ing equa l in everY case.

C. An D<ercise for Ccnparative AIID\rnts of Bo^I bvenent

At the end of each dot ted hal f note the bow is ra ised f rom the

string and the arm is brought into posi-tion agai"n through a circularmovement to attack the next note as shown in the diagrams on page 9.

D . @nstarrt-$peed Borings wittt tlre

The var iat ions in thebe p layed a l ternate lY wi ththe upper half of the bow;s e l f .

Sane Part of the Bort

example be low, f rom (a) th rough (h ) , a re to

the whofe bow, the lower ha l f o f the bow, and

then, f ina l l y , as ind ica ted in the example i t -

* - - - t -

clflP1m 3

CONSTAIVI-SPM BOV{I}GSWITTI ITIE SAI"TE PARI OF TIIE BOI^I

IN OPBI-STRTI{G MIEILE STOPS

C>

T h e s h i f t f r o m o n e d o u b l e s t o p t o a n o t h e r ( x L | x 2 ) s h o u l d b e c o n -ducted in the following manner:

L2GIAHTER 4

DGRCISESFoRTHEEASYCTIA}JGINGFRON,ISTRINGToSTRING

I n t h i s c h a p t e r w e a r e c o n c e r n e d , i n a l i m i t e d S e n s e o n l y , w i t h t h et e c h n i q u e o f c h a n g i n g f r o m s t r i n g t o s t r i n g . R a t h e r , e l e m e n t s o f t h etechnj-que are necessary for the per formance of cer ta in typ ical succes-

s i o n s o f n o t e s p l a y e d o n t w o n e i g h b o r i n g s t r i n g s a n d i n v o l v e d w i t h f r e _guent t ransi t ions f rom one st r ing to another ' as in the fo l lowing:

Var iat ions

The student must be sure to remember to per form these exerc ises on

a I ] . f o u r S t r i n g s . T h e y S h o u l d b e p e r f o r m e d s l o w l y a t f i - r s t , a n d t h e nmore rapid ly and wi th d i f fer ing at tacks as fac i l i ty is gained'

what we are concerned wi th here are the d i f ferences between chang-

ing from the D to the A string as opposed to changing from the D to the

G s t r i n g . I n e i t h e r c a s e , t h e c r r a n g i n g m o t i o n o f t h e b o w i s v e r y s m a l l .H o w e v e r , f r o m t h e D t o t h e G s t r i n g t h e c h a n g i n g m o t i o n s h o u l d b e m a d ew i t h t h e h e l p o f t h e s h o u l d e r b l a d e r a t h e r t h a n w i t h t h e m o t i o n o f t h earm alone, as in the change f rom the D to the A st r ing. The change f rom

the G to the c s t r ing is a lso as smal l as the previous changes, but the

elbow, instead of moving out and up in to an awkward ra ised Posi t ion '

fofl0ws the motion of the shoulder blade and the natural, contained

c u r v e o f t h e b o d y . I n t h i s p o s i t i o n r t h e h a n d a n d t h e e n t i r e a r m r e -semble the position of a swimmer naturally stroking and preparing to

move the arrn above the head.

P lag the same pat te tn on a7 l " fou t s t r ings '

Var iat ions

cc CC

\-.t

'rqoq aql 3o 6o11 aql Jo /Yrarcs dulqs aqx saqclPn aq aTTI{I{ luap

-nxs aq1 Iq uaas aq z(11pea: uEc u-raxlpd uollour aq1 ' lca::oc arE sluau

-aAou asaql l:I 'pa.{e1d 6u1aq r[TTenlce sr asTc:exa aq1 aTTI$r a{eut PuEq

1q6Tr pue 6o13 r{oq aql sluaua^ou aqx aqTJcsap t'lolaq uoTlezTTPnsTA eql

uT sAorrE aqJ, '6ut:1s re&roT pue raddn aq1 uaarrleq 6u'p:ls '{:eu16eul1

up uo bupvroq aq 01 suFas J'loq aI{J, 'uoT?ce peldn-rraluTun puP lluol:Tun

auo oluT (uI' lop pue dn; s6u1:1s 3;o 6u16ueqc ar' l1 :o3 A:essacau suoTlcP

aq? qxT/,l pauTqutoc are 1ute6e lceq pue 1I{6Tr 01 lJaT uorJ) sa6ueqc

/vroq roJ IrBssecau suoTlce lsTllvl pueq-1q6r: aql 'odual prdel e u1

' { ce11e pue spaads l ue - raJJ rp ;o s6u taaoq q lT l ' r l nq ' s rnTs Aq punoq a re

?pql asoqf se Aloq 1o q16ua1 aues aq1 q l t r ' r padeld eq o1 e-re selou paqcP?' . ^ . { , , , ^ - ^ - J - - -

" r n r , { n r A- e y e u t . 1 v u u e + y L q E r s u ! y e r r s L * e Q o ? a f , e a A O q e ? p u e E S e S - J J - r a x g

:s6ur :1s rnol : TTe uo paAeld aq 01 osTp a;e sasrJ-raxo 6urz"ro11o; l aq;

I4

CTIAHTER 5

HAL.F'-STEP D'GRCISES ON ONE STRING

Placing the Fingets on the Fingerboatd

Here , i t must be repeated tha the p lanes o f the f ingers and the

f i n g e r b o a r d a r e p a r a t l e l w h i l e t h e f i n g e r s t h e m s e l v e s f o r m a r i g h t a n g l ewi th the edge o f the f ingerboard ' i th on ly the t ips o f the f ingers

touch ing the s t r ing '

T h e l e f t s i d e o f t h e t h u m b a b o v e t h e n a i l l e a n s , b u t i s n o t p r e s s e d ,

a g a i n s t t h e n e c k o f t h e c e l l o ' T h e u p p e r a r m i s r a i s e d ' a l i t t l e d e -

tached from the body' The lower :-n pi i t f ' and further to the r ight the

s t r ing on wh ich * " Lo t , the more the le f t e lbow is ra ised so as to a l low

the f i -ngers to p reserve the i r normal pos i t ion on the f ingerboard '

On the o ther hand, the le f t

a I he igh t when f inger ing in f i - rs t

wou ld b reak the na tura l curve or

The exerc ises befow should

arco, on st r ing I I , and then on

the arm to the bodY '

be p rac t i ced a t f i r s t p i zz i ca to ' t hen

a l l f ou r s t r i ngs :

tzFI3}_---: -

t::l

l4t--

a- t3F-d)rrF

tr- LU-

B_3 -2-l -

E E * tz'l- B- t+-I ql- le f-

-

I n a d d i t i o n , t h e p : r z z i c a E o s h o u } d b e s t u d i e d i n t h e f o } l o w i n g w a y s :

GIAITER 6

EXERCISES WITFI HALF NCTIES O}T TVqf, SUCCESSIVE STRINGS

Et-l4_rE= rlEl__

trf-Ert-1.1.--

+ t lDuring the stops, the left hand anticipates the following tone

by aeans of a strong percussion.

I6

G]AI{ER 7

TTIE C].,ARfFICATION OF I}TIONAT]ON

THROUGI IEF:T-HAND PERCUSSION STROKES'

AITAG<S AND PIZZICATI

( the powet coming aLwaqs th rough the knuckLes)

T h e f o l l o w i n g e x e r c i s e s l e a d t o e x a c t i n t o n a t i o n b y a l l o w i n g t h epup i l to hear d r r l c t l y the sound produced by a par t i cu la r le f t -hand f in -

g e r p l a c e m e n t -

Af te r each ascend ing no te i s P la '

i n g n o t e i s p l u c k e d , o r p l a y e d p t z z r c

v i o u s l y o n t h e s t r i n g ' I n t h i s a c t r o

c a 1 l y , a s i n a P e r c u s s i o n s t r o k e ' b u t

the palm in such a waY that the round

p l r . " i i r ,g ac t ion can on ly be conven ien

s i n c e , i n t h e a s c e n d i n g m o d e ' t h e f i n

t h e s t r i n g t o p l u c k i t a n d , t h e r e b y l o s e t h e d e s i r e d p i t c h '

When p luck ing the s t r ing in Exerc ise I ' the s tudent must be sure to

ra ise the en t i re hand a f te r each no te

n e x t n o t e . ( R a i s i n q o n t y t h e p l u c k i r

work as a un i t , c rea t ing a lack o f tL

a n d a s e n s e l e s s f e e l i n g o f m o t i o n ' )

gers shouLd resemble the a t tack and r

b o u n d o f a b a l l - w h e n p r a c t i c e d o v e r a p e r i o d o f t i m e ' t h i s e x e r c . r s e

g r a d u a l l y c r e a t e s a n a l e r t n e s s t o a n d f t e x i b i l i t y o f f i n g e r m o v e m e n t s .

I n E x e r c i s e 2 , t h e e n t i r e h a n d i s a l r e a d y o n t h e s t r i n g w h e n t h e

f i - n g e r s a r e r a r s e d i n a p l u c k i n g m o t i o n , t } r e n r e p l a c e d u p o n t h e S t r l n gin o rder to per fo rm the same ac t lon agarn '

T h e p l u c k i n g m o t i o n o f t h e f o u r t h f j - n g e r o n t h e n o t e s m a r k e d . ' + ' '

f o r c e s i t , t o g e t h e r w i t h t h e s e c o n d a n d t h i r d f i n g e r s , t o l e a v e t h e

s t r i n g a n d r i s e i n t o t h e a i r a s i f p r e p a r i n g a d i v e o n t o t h e n e x t n o t ef r o m t h e h e i g h t s a b o v e t h e s t r i n g . I t m u s t b e e m p h a s i z e d t h a t t o p l u c k

t h e s t r i n g w i t h a n y b u t t h e f i n g e r t h a t p l u c k e d t h e p r e v i o u s n o t e i s aw a s t e o f e n e r g y . i t . s t u d e n t w i f l f i n d t h e s e m o v e m e n t s p a r t i c u l a r l y

u s e f u f i n t h e l a t e r s t u d y o f p o s i t i o n s , s t r e t c h e s a n d h a n d e x t e n s l o n s .

The foLlowing exerc ises shoufd

be obvious to the student, the bow

rl-n

performed on a l l s t r ings

used onlY in Exerc ise 3 'As w i l l

1 2 ! + t + 3P P P P + P +

h o

2+

nT.o'+ qrco

o t+o l

+o l

ii

CHAHIER B

DGRCISES F'OR FINC;ER DD{IERITY

I n t h e f o l l o w i n g e x e r c i s e s , t h e f i n g e r s a t a t l t i m e s m u s t b e h i g h l y

arched above the f ingerboard a t the f i rs t jo in t f rom the knuck le ' Spe-

c ia l a t ten t ion must be pa id to the th i rd f inger , s ince i t i - s the weakes t

f inger when used in th is manner , and the leas t a rchab le .

*Iha F

this and the other. examples inits suplnrting function, faLls

7-2-4, the th j rd f inger , becausewith the fourth.

the combinationsimuJtaneouslg

The fo l low ing exerc l -ses are

a g a i n , o n a l l s t r i n g s :

to be Per fo rmed in the same way and '

*In this and the othet examPTes in

cause o f i t s suPPor t ing func t ion ,

the combina t ion 1-3-4 , the

f a L J - s s i m u f t a n e o u s L g w i t h

second f inget , b€-

the th i rd .

CIAHTER 9

IN]0NATIONEXERCISESUSINGANAD]ACnffoPs{STRING

A t f i r s t ' e a c h o f t h e e x e r c i s e s b e ] . o w s h o u L d b e p e r f o r m e d w i t h e r -

t h e r o n e o f t h e f i n g e r e d n o t e s ( i f t h e r e a r e t w o ) a l t e r n a t e l y r e p l a c e d

b y t h e o p e n s t r ] - n g . B y t h i s u s a g e , t h e s t u d e n t w i l l b e a b l e t o h e a r

w i t h g r e a t e r c l a r i t y i f t h e i n t e r v a l f o r m e d b y t h e f i n g e r e d n o t e a n d t h e

o p e n s t r i n g i s i n t u n e a n d i f t h e f i n g e r e d n o t e i t s e ] f r s a t b h e c o r r e c t

p i _ t c h , c o n c e n t r a t e d l i s t e n : - n g w i L l l e a d t o g o o d i n t o n a t i o n p r a c t r c e s '

A s p r o f i c i e n c y r s a t t a i n e d , t h e f i n g e r e d n o t e m a y a g a i n b e s u b s t i t u t e d

f o r t h e o P e n s t r i n g .

O a )

, o r

oz

C}IAPTER 10

DGITCISES IN CONJI]NCI SCAI,ES, SKIPS A}JD ARPECG]OS

Each sca le shou ld a lways be s tud ied i n t he f o l l ow inq sequence : t he

sca le i t se l f , t he sca le as app l i ed t o t h i r ds , as app l i ed t o f ou r ths , as

appl ied to s ix ths, to octaves, and then to arpeggiated chords. Pay par-

t icu lar at tent ion to the study of the last i tem'

F inge r i ng symbo ls a re i nd i ca ted i n some exe rc i ses onJ .y - f n a I I o th -

ers, symbols appear only where the f inger ing can be misconstrued.

A. Conjr:nct Movenent in QuadrWle Meter

ma lo r

C ma jo r

@ +lvo

z z

C harmonlc m r n o r

When the PuPiI has

keys, the same Pat ternsplayed in t r iP le meter '

Note to the s tudent : Each minor -scaJ 'e ex-

erc ise shou|d aTwags be per fo rmed both in

its harmonic and nefodic scale fotms '

mastered the exercrses

should be transferred

above in the gi-ven common

to more remote keYs and

me lod ic

B. Iuovenent in SkiPs of Thirds

Prepa ra to ry exe rc i se f o r t he I e f t hand

(Dtr t-4]__{t Id- tr El--ll E}_ tr ll--fl IE- .^,

lof -- i f EF 13 f- i3l- i3l-- -_--

11 flz l___ trt_ lzi__ lzl_ la i_ _ _ _-- L5_r--r i u

' l l i --- i l8=--- tr i f-1-- l111J- l ILJ i ! - i l

r ru L: t r

JE

24

@ r

C. Movenent in SkiPs of Fourths

D. I4overent in SkiPs of Sixths

Preparatory exercrse

Preparatory exercrse

E . I"lovenent ]n Arpeggiated dnords and Chrcnratic scales

T o l - n s u r e p r e c i s e i n t o n a t i o n t h r o u g h o u t t h e e x e r c i s e s i n s e c t l o n D '

i t i s a d v i s a b l e , w h e n e v e r p o s s i b l e , t o k e e p t h e t h i r d f i n g e r w i t h o u tm o v e m e n t o n a t s s t r i n g . T h i s w i l l i n s u r e , i n t u r n , t h a t t l r e h a n d r e -

m a i n s i n f i r s t p o s i t i o n a n d d o e s n o t i n a d v e r t e n t l y m o v e h i g h e r o r l o w e r

w h e n c h a n g i n g f r o m s t r i n g t o s t r i n g a s i t v e r y w e l l m i g h t i f i t r e l e a s e d

t h e s t r i n g e n t i r e l Y .

A s a g e n e r a t r u f e , w h e n e \ r e r t h e s t u d e n t m o v e s a f i n g e r f r o m o n estr ing to another , the hand should remain in contact wi th the f inger-

b o a r d . o n l y t h e f i n g e r s t h e m s e l v e s a r e r a i s e d , n o t t h e e n t i r e h a n d .The student should a l -so endeavor to p lace the f inger wi th a def in i te mo-

t i on , as t hough he were hook i r rg t he f i nge r t i p t o t he s t r rng '

trl---.3 r -eI--

f4]_----l3F-- - - - - -El-- )

4,I

t3l-i 2 FLLF

_oo

26

@

@

@

@

l;L-----

tit----|11----

@

@:

O @

28

@

@

nth chords

@AugDi-minished chord mented chord

t ic scale@

Chroma

CTIAPIER. 1I

BC}V{ED RruDES IN QUARTER NOIES

At f i rs t , these etudes are to be p layed in a very srow tempo wi ththe whole bow, then wi th the rower har f , and f inar ly wi th the upper har f .They should a lso be p layed at a constant roudness lever , wi th evenrhythmr good legato, unvary ing at tack, no accents, uni form t imbre and novibrato. The pupi l should mainta in the same weight and intensi tv forboth up and down bows.

When the pupi l has mastered these etudes to h is teacher 's sat is fac-t ion, he may then repeat the exerc ises wi th the var iat ions wr i t ten un-derneath each. As the pupi l advances in technicar fac i r i ty , he shouldbe encouraged to pract ice the exerc ises in th is book employing the wr i t -ten var iat ions at every opportuni ty . rn addi t ion, he shoul_d appry thepr inc ip les of prev ious exerc ises to l -ater ones, and create or iq inal var-ia t ions of h is own.

The f inger ing in the fo l lowing etudes has been omit ted on purpose,because i t is assumed that the pupi l has acguired enough knowledge byth is t ime to undertake th is task. where a l ternate f j_nger ings are possi -b le, the f ingers that should be used on a par t icu lar s t r ing have beenp laced a t t he head o f each exe rc i se .

u L 1 . Z 4 . - t L . t . 2 . 4 .

r I . 1 . 2 . 4 . - r . r . 2 . 4 .

I I . 1 . 3 . 4 . - I . 1 . & 4 .

fv. 1. 3. 4. - nL 1. 3. 4.

III" 1. 2. 3. 4. - IIr. L. 2. 3. 4.

r . L .2 .3 . 4 . - r r 1 . 2 . 3 . 4 .

r I . 1 . 3 . 4 . - I ' L . 2 . 4 .

LL : r a 4

32

1 1 at t t *

it17 ,

b)lt1?

a) tx

a ) . .. ' t ' ix

o't * L';.-"i

1:-'--

GIAPTER 12

SHIFT]NG F]NGERS CT! A STMNG

A. First-Fjlger Glissando Shifts:$hore- and Half-step l,torrenents up ard Do/rn rndividual strinqs

The pedagogical purPose of th is chapter is to in t roduce the studentto the concept ion that p lay ing the ceLro should be as easy and spontane-ous as breath ing. concrete ly , i t in t roduces the student to movement outof the f i rs t posi t ion and is a lso the f i rs t s tep toward the explorat ionof new f inger ing sensat ions and the enlargement of the f ie td of the hand,sac t i v i t i es . I t i s he re t ha t t he s tuden t shou ld f i r s t r ea l i ze t ha t anyexe rc i se (as we l1 , i ndeed , as any p iece o f mus i c ) , pe r fo rmed on any i n -st rument , is accompl lshed through an in t r icate ly connected serres ofphys i ca l " j ou rneys " o r "p rocesses , , - he re , t he bow hand gu id ing the bowback and forth on the strings and the left hand going from one place toanother on the f ingerboard. I t is the ef fect of one " journey, , on thenext that determines the ease of performance and the character of inter-pretat ion.

Thus, where the hand has been on the fingerboard affects a numberof "process€s: ' r the posi t ion of the hand and how i t got there; where thehand is going and what fingering should be emproyed to get there; thedi f f icu l ty in comptet ing the " journey; , , and whether the resuLts obta ined(that is, the coloring of a note and the phrasing of a passage that givemusic its l i fe) are worth the effort e*pena.a. ini" coirception of f in-

3Bg e r i n g t e c h n i q u e a s a s e r i e s o f p r o c e s s e s w i l l l a t e r p r o v i d e t h e j u s t j . -

f i c a t i o n f o r t h e p u r p o s e f u l s t u d y o f s t r e t c h e s , h a n d e x t e n s j - o n s , p o s i -

t i o n s h i f t s a n d t h e s i x t e e n b a s i c f i n g e r - c h a n g l - n g p a t t e r n s ; f o r t h e m o r ew a v q f h c q J - r : d p n J - F i n d s t o a n n r o a c h : n n + a r - h a m ^ v ^ i t S C O I O f C a n b e V a f -

i ed and the more comfo r tab le , na tu ra l and " i ns t i nc t j - ve " w i l l be i t s f i n -ger ing and that of the notes that surround i t .

The s tuden t , t he re fo re , shou ld no t i den t i f y a f i nge r w i t h a no te .I i i ^ r i - ^ r ^ L - - ^ ^ i ^ + i ^ - ^ ^ ^ L + l - ^ + L ^ ^ r ! n ^ 6 ^ + ^ i ^ ^ l - , , ^ in q r o L r r r v u u r r a ' y c i n s e n s a t i o n o c c u r s e a c h t i m e t h e s a m e n o t e i s p l * y = *

w i t h a d i f f e r e n t f i n g e r o r a p p r o a c h e d t h r o u g h a d i f f e r e n t f i n g e r i n g .For exarnp le , in Exerc ise l - the s tudent p lays the G in measure I w i th the

f o u r t h f i n g e r i n f i r s t p o s i t i o n ; b u t i n m e a s u r e 2 h e p l a y s i t w i t h t h eth i rd f inger , the four th f inger p lays ab , and the hand is sa id to be insecond pos i t ion . The s tudent w i l l immedia te ly sense the change in" touch" and ease o f p roduc t ion o f the G when p layed by the s t rong th i rdf inger as opposed to the weaker four th .

I n t h e f o l l o w i n g e x e r c j - s e s , r e m e m b e r t h a t t h e " l i e " o f t h e h a n d d o e snot change when the hand sh i f t s a ha l - f -s tep up the f ingerboard . The f in -gers remain in the same re la t i ve p lacement to each o ther wh i l -e the handm o v e s a s a u n r t .

To in t roduce the s tudent to hand ex tens ion and open pos i t ion , a l l

no tes p layed by the four th f inger shou ld be ra ised a ha l f -s tep . Thus ,

t h e A D i n m e a s u r e 3 o f E x e r c i s e 1 w o u l d b e c o m e A 4 , e t c . A I s o , t o

suPPor t the four th f inger in i t s ex tens ion , f ingers two and th reea lso move away f rom the f i rs t , thereby chang ing the "1 ie" o f thehand and mov ing the hand ou t o f c lose pos i t ion . The thumb, o fcourse , has to fo l low the second f inger , in o rder no t to feave thehand in tens ion .

The cor rec t per fo rmance o f these who le-s tep sh i f t s w i l I become thegateway to earLy mastery o f s t re tches , pos i t ion sh i . f t s and hand ex ten-s i o n s . r n a d d i t i o n , a t t h i s p o i - n t , t h e t e a c h e r s h o u r d g i v e t h e s t u d e n ts ing ing exerc ises o f who l -e - and ha l f -s teps accompan ied by demonst ra t ionso n t h e p i a n o o f t h e v i s u a l m e a n i n g o f t h e b r a c k a n d w h i t e k e y s , s i n c ethere j -s a d i rec t cor re l -a t ion on bo th the p iano and the ce l lo be tweenm o t i o n d i s t a n c e a n d p i t c h .

r 2

Var iat ion

1 1 I - l 4 1 - 1

Var i a t ion

The second s ta f f w i th the "e" marks shows approx imate ly where thethumb shou ld be p laced a long the back o f the neck wh i le E .he f inqers a rep e r f o r m i n g t h e c o n t e n t s o f t h e f i r s t s t a f f .

rrT,t E!I EA

EI]

l+2,

@I t g

E 4 * , s

x 7

I

+

@ x l

a Q ,-- 0 0 Q . - 0

t l 1

0

x Z

' {) 0 0 0- a

l + 3

40

B . First-Finger Glissando Shifts: Skips of l{ajor and I'{inor Thirds

4

Var ia t ion

Here i t i s adv isab le tha t the teacher p lace the hand o f the s tudent

in to the four th pos i t ion in o rder to teach h im more eas i l y the techn ique

of sh i f t ing back w i th the f i - rs t f inger . The s tudent shou ld see tha t the

hee l o f the hand does no t res t on the ce l lo bu t i s about a ha l f - inch

away.

These exerc ises shou ld be per fo rmed wr th a fu l ] and s ing ing tone ' espe-

c i a l l y d u r i n g t h e g l i s s a n d o s h i f L s .

V a r i a t i o n

illo

1

C. Perfect-Fourttr Glissando Shifts Erploying thre First and Fourthr Finqers

In the fo l low ing sequent ia l - exerc ises , the f i rs t f inger i s employedin sh i f t ing the en t i re hand a per fec t four th up , and the four th f ingeri n s h i f t i n g t h e e n t i r e h a n d a p e r f e c t f o u r t h d o w n . o r i g i n a l e x e r c i s e ss h o u l d b e c r e a t e d u s i n g o t h e r f i n g e r s i n p e r f e c t - f o u r t h s h i f t s o n a L fs t r i n q s .

't ne f inger-over lapping that occurs inbo the techniques used in changing

Exerc ise I0 is another in t ro-pos i t j - on :duct ion

rT'n

42

n Shifts of an Augnented For:rth or a Diminished Fifth

Tn order to accustom the f i rs t f inger to moving the in terval of theaugmented four th or the d imin ished f i f th , i t is advisabl -e, af ter s tudy-ing the pre l iminary exerc ises, to s tudy the exerc ises that fo l low byf i r s t p l ay ing on l y t he f i r s t s i x teen th no te o f each g roup o f f ou r ; t h i smethod is notated in the f i rs t measure of Exerc ise I I . In pract ic ing theexerc ises, such an approach wi . l - ] he lp develop good intonat j -on in shi f t -

P re l im ina ry Exe rc i ses

This exerc ise may not only be pract iced assteps, but i ts component par ts may a lso be usedmen ts i n Exe rc i ses 12 and 13 , be low .

a n e n t l t y i n r i s i n g h a l f -as mot i - f i c ce l - l_ rep lace-

Beyond the four th posi t ion, the , , l ie , , o f the hand changes. Thiswi l l be d iscussed in a la ter chapter .

E. Finger Substitutj-ons on ttre Sare Note

The purpose of these exerc ises is to teach the student dexter i ty off inger ing by J.et t ing var ious f ingers fa11 on the same note at the samepolnt on the f ingerboard wi thout the preparat ion requi red in prev iousexerc j -ses. Here " f inger memory" f i rs t comes into p lay. This procedureof f ind ing the r ight "hol -e" in the f ingerboard is d i f ferent f rom previ -ous ones because the hand remains in the same placement and only the fin-gers move.

rn all of the forlowing exercises, the same fingering shourd be em_ployed at each repet i t ion of a passage p layed a har f -s tep h igher .

rT-r-ra )

L ? , I

@ =1

rrnI--31,-=.3 lJ ra! -B tt 2-42124

'0r'

1^3 1^3 - l r ^ |

44

. t t V :

4 3 ! . . 1

4 3 2 - 1 I 2 3 / 1 4 3 2

1 2 3 , r r / + 3 2 | 1 2 3 4

4 3 2 1 4 3 2 l 1 ' ! , L t

4 3 2 1 2 3

L ? ' 3 t l t ' l t 3 2

t 2 3 4 t z I

3 4 3

6

3 ? i r

. n V .

3 2 r 4 - 3 2 1

4 3 2 | , 4 3 2 , I

,2:,,h! 2s!.

nlL.,|u? t

? . 4

r ? , T t t t 2 8 . 4

I 2 3 4 1 2 , 3 t * .

1 2 3 4

1 2 4

2 3 i

4 g 4

"D

r ' 2 3 4 1 2 3 4

4 3 4

4 3 tr

2 3 4

2 t 4

2 i

3 4 3

2,

b)

r * 3 4 3 z t +

2 l l L t 2 4

!TT-t

The variant f ingerings for the repeated notes in the above exercirolare intentional and serve the purpose of introducing thc hand to thr waythe same note , ' fee ls , , under d i f fe ient f ingers.

C]IAPIER 13

BASIC F]NC.ER C}ANGN{G PROCESSESFOR THE INDEPENDENC:E OF FI}IGER ACT]ON

n Preliminarl E:<ercises

The student should become accustomedof Lower finger on l_ower string and upperto the reverse p lacement . This wi l_ l a lsoo f f i n g e r a c t i o n .

These exerc ises shou ld be p layed onf rom the f i rs t to the four th po i i t ion in

not only to the normal sequencef inger on upper s t r ing buf a lsocontri_bute to the independence

^ t 1A I I

thetour s t r ings and i .n shi f tssame sequence.

42 2

rr-n 1n

46

The student shouLd pract ice the f i rs t f i -ve exerc ises above wi th theintent ion of hear ing c lear ly each intervar- r ic leap before going on tothe next one' The rest should be a moment of re l -axat ion in which thestudent at tempts to hear the fo l lowing reap in h ls inner ear and prepareshimsel f for i ts physical per formance before actual ry p lay ing i t .

wi th ass iduous pract ice the student wi l - l soon f ind that he can per-

: : : : - . : :_ larrer f ive exerc ises (Nos. 6 _ tO) wirh srearer conf idence and

_ _ e s ! l / r e 9 r l .

B. h:erimilary E:rercises for Arternating Gror.ps of Fingers on TVo strings

A f te r P lay ing No . 1 r , be row , t he exe rc i ses t ha t f o r row shou rd be ac -tempted, being sure to keep immobire those f ingers not tak ing par t .These exerc ises shour-d be prayed on at l four s t r ings and in f i rs t tofour th posi t j -ons

fn a) : Keep f ingers I and 3 on thes t r ing wh i le p lay ing 4 and. 2 .

In b ) . . Whi le f ingers 2 and 4 are s t i l lp l a y i n g , p r e p a r e t a n d 3 .

In_ c ) . . Kee ing the o ther f ingers ont h e s t r i n g , m o v e n l y t h e 4 t h f i n g e r .

In d ) . . Keep ing the o ther f ingers onthe s t r ing , move on ly the 2nd f inger .

lzl-- El-- I

_rri;= iI-- E# ffiIT'I-I r1r-- f!-- 1+ r-l---u -

^ 4a C

Exercises in which ato the Same place on

Finger is Moved from One Stringan Adjacent Strino

Firs t F inger

Second Finger

Third Finger

Fourth

48

D . kercises where TVo Fingers Grange place(The f ingers , ,d.ance a WLka., ,)

E. Shifting TVn Fingers Ilp and Dcxrn TWo Strinqs

(a) Chromat ic Major Six ths in pai rs

rrn n

fAL- a4+-PH,F P'l-l*t

n_r-.tuF irl____

(b) Chromat ic Major Six ths

q r . A l t

rT-r'l "t ,7. i ,. z

(c) Chromat ic per fec t 4 ths

;-rr1 nc3 4 3 4- t g l , z 1 . 2

31

?

(d) Augmented 4ths

J

GIAPTER 14

DGRC]SES IN P].ASTICTTY AI\]D FLD(TBTLTTYOF FINIGERTNG A}JD BOhJII}JG

In th i s chap te r , t he s tuden t s jry th ing he has learned before, appr(ment not only as a mot ion by and fo:energet ic p ickups and p lacements. -s tudy, as far as possib le, the moverand D to G between any two f ingers t

f-T-t-t

VARIATIONS

O" , , @ "

fT'n s r+Z o 1 + Z o l S

Var iat ions

50

f T ' n o 1 o 1 o 1 o 1 o r o . , 1 o 1 o - 1 o I o I

Var iat ion

FT-l-le 1 3

c 1 3 o tl? o-1 rq o l t 4

--------/ --'-.----

II

l - - l l , l ^ l4 O d , , b 4 . d

r-'lc l----g . Ttl ril) hill)

l ^ l I + l I4 d d l d l

52

Play each ba r seve ra l t imes ; a f t e rwa rds , con t i nuous l y , w i t hou t repe t i t i ons .

o ) , 0

1 t

f_l_lEt

J ) ! )

For future study, i ttwo c lefs , the tenor and

POSTSCRIPT

w i l l b e n e c e s s a r y t o a c q u a i n t t h e s t u d e n t w i t hthe t reb l_e .

Tenor C l_e f

Treb le C le f

a . e l

II

e L ' + =

54

EI.EVEN P]MSFOR GLIO AND PIA}TO

.The ceLl-o part for these pl.eces , boundinto this voLume at the end ot the bok,mag be removed tor perform""i".

Adagio NOCTT'RI.IE

Adagio

\. . - - tJ ;

-rErr::-.--Tl

\-\---.//

-

<=--

\+--\\----,l -

SOLEMN PRELT'DE

Andauh cantabile

MEI-ODY

Andant€ cantabile : ---

'\-/

:-.'..--{>

' 5-'---/

^ - _ 4 \

Allepo rDarcato

Allegro nureato

56

Tcrrpo* di rninuefrt1 t2 ' l *

ryDTempo di minuetto

-

ROMANCE

llcderato

Piu mosso

58

BASSO CONTINUO

A dagro

A n d a n t e

60

A FOLK SONG

Adagio canta bile

r

Allegro

Moito meno

;-;=---Ja $ a., fi.te

SAI,TARELI,O

Allegro ma ben

THE WIND SCOURING THE FIELDS

ritmrco

..*-.-/Lt

Hard in first position

64

BOOK OTIE ,/ PAI{I Trc

The Studg of Gl, jssando Shif ts, ,stretches and posit ions

CHAPIER 15

STRETC}I A}JD POS]TION GANES

m L ^ ^ + , - 1 . . ^ t' 1 n e s E u c l y o r s t r e t . c h e s a n d p o s i t i o n s s e r v e s t o a c h i e v e t h e f o l ] o w -r n g g o a l s :

e x t e n s i o n o f t h e c o m p a s s o f t h e h a n d i nt h e m o s t n a t u r a l w a y ;enab l ing the hand to cope w i th the mostawkward f igura t j -on in the most na tura lm a n n e r ;t h e a b i l i t y t o e m p l o y r e l e v a n t c h a n g e si n t o n e c o l o r w h e r e v e r m u s i c a l l y a p p r o -p r i a t e ;p h r a s i n g a n y p a s s a g e i n t h e m o s t m u s i -c a l w a y ;

t h e a b i l i t y t o g j - v e a n y p a s s a g e w h a t e v -e r d e g r e e o f e m o t i o n a l e x p r e s s j - o n r sn p c e q q ^ r \ t

r n add i t i on , Lhe s tudy o f s t re t ches and pos i t i ons i s one o f t he f un -damental methods of at ta j -n ing secur i ty of f inger ing. The convent ional_f inger ings are a l ready tearned responses by the t ime the student movesou t o f f i r s t pos j - t i on , and i t i s on ry l og i ca l , t he re fo re , t ha t he shou rda t temp t t o p ray a no te i n a h ighe r pos i t i on w i t h t he same f i nge r w i t hwh ich he wou l "d p lay i t i n a l ower pos i - t i on . Ho \ , reve r , such un in te rJ_ igen tand d i so rgan i zed p rac t i c i ng reads to many d i f f i cu t t i es , among wh ich a reunnecessary arm and hand movements, d is tor t ions i -n the p lacement of thehand , poss ib le i n j u r y t o t he muscLes and s j -news o f t he hand , and , mosEse r i ous l y , t o an i nsecu r i t y i n f i nge r ac t i on wh i ch mus t even tua l l y resu l " ti n i nexac t i n tona t i on .

To prevent these d i f f icur t i -es and to enabre the pupir to do mosteas i l y wha t t he i n ten t i on o f t he mus i c requ i res h im to do , and no t wha tfa l se conven ience and techn i caL l im i t a t i ons make h im do , t he i n te r re la -t i ons be tween pos i t i ons and s t re t ches shou ld be s tud ied . On ly such s tudywi l l g ive to the student a complete secur i ty in f inger ing and a conf identease i n t echn ique .

EarJg Concepts of CeTl_o Fingering:

Finger ing on the cel lo was or j -g inal ry taken f rom the v ior and, la t -er , f rom the v iot in , where successj -ve f ingers were expected to s top whole-tone steps. The consequent awkward hand p lacements and the loss in easeo f f i nge r i ng and so l i d i t y o f t one , espec j -a r r y i n sca le passages , we re adist inct barr ier to a f ree and conf ident technique.

The solut ion proved to be to bui rd the ent i re technique of ce l lop lay ing on the in terval comfor tably covered by the f i rs t and four th f in-gers (a major or minor third) on that part of the fingerboard between thepegs and the middle, and on the consequent normal distance of a semitonebetween two adjacent f ingers. This normal arrangement of the componentparts of the hand on each string when moved up and down the fingerboardcreated areas of f ingering activity around each semitone which l-at.er as-suned the nane of "positions.,,

2 .

E a c h p o s i t i o n h a d i t s o w n s e t o f f i n g e r i n g s f o r a d i a t o n i c o r c h r o _mat ic sca l -e and, inev i - tab1y , a par t i curar f inger became gradua l_ ly asso_c i a t e d w i t h a p a r t i c u l a r s e m i t o n e i n e a c h p o s i t i o n u n t i 1 , i n m a n y c a s e s ,t h a t n o t e , n o m a t t e r h o w a p p r o a c h e d o r f e f t , w a s a l w a y s p l a y e d b y t h a tf i n g e r . T h u s , t h e d e s i r e d g o a l o f t e c h n i q u e l a r g e l y b e c a m e a d h e r e n c et o a n i n c o n s j - s t e n t , a r b i t r a r y a n d l r l o g i c a t s e t o r r u l e s r a t h e r t h a n e a s ea n d n a t u r a l n e s s o f f i n g e r i n g .

The ProbLems o f Enharmon ic Nota t ton :

A f u r t h e r d i f f i c u l t y a p p e a r e d w h e n 1 i t t l e o r n o a c c o u n t w a s t a k e no f e n h a r m o n i c s w h e n d e s i g n a t i n g p o s i t i o n . s i n c e e a c h p o s i t i o n h a d s e v _e r a l e n h a r m o n i c v a r i a t i o n s w h i c h c o n f r i c t e d w i t h t h o s e o f n e i g h b o r i n gp o s i t i o n s i n d e s i g n a t i o n , t h e s a m e p r o b r e m a t i c p a s s a g e s i n h a n d s t r e t c h e sand pJ-acement , when no ta ted enharmonr

? r e n t t e c h n i c a l p r o b l e m s , i f w r i t t e nenharmon ica l l y in such ways as to be inc r -uded under the same pos i t : -ond e s i g n a t i o n , c o u J - d b e g i v e n t h e s a m e f i n g e r i n g s . ( S e e E x e r c i s e s r a n d 2 ,b e l o w . )

The Probfens of Hand Movement:

T h e m a l n d i f f i c u l t y a r o s e w h e n t h e a b s t r a c t c o m p l e x i t i e s o f p o s i t i o ndes ignat ion were appr ied to the ac tuar p rocess o f mov i_ng the hand up anddown the f ingerboard . vJhat had begun as a necess i ty in o rder to c la r i f yf inger ing processes a lmost became a game where the emphas is and in te res tr , re re no t on the fundamenta ls o f f inger i -ng ease and na turar_ness o f handp lacement bu t , ra ther , on the cho ice o f f inger ing th rough the empty de_terminat ion o f what were va l id pos i t i -on changes and what were s imprec h a n g e s i n h a n d s t r e t c h e s a n d e x t e n s i o n s . A n i n a b i l i t y t o c o n s i s i e n t r ydef ine the d i f fe rences be tween them on ly added to the confus ion o f thes i tua t ion . Advances in techn ique were h in< le red and too many cer l i s tsshowed the de fec ts in r -e f t hand techn ique tha t such s tudy engendered.

An fJ . lus t ra t ion :

o oo

The shoals of technical error onto which a misptaced emphasis ondef in i t ion can lead a student is i l - rust rated in Exerc ises r and 2c, above.Both cases could be considered a change in s t retch s ince the f i rs t f in_ger never moves from i-ts place on the fingerboard and the second, thirdand fourth fingers move to a new placement a harf-step further away fromthe f i rs t f inger- Since a change in s t retch, i_n theory, does not aLterthe reLati-onship of the hand unit to the fingerboard, the danger here,of course, is e i ther that the thumb wir l be "n i r t "a

tard i ry to i ts newplacement on the neck opposite the second finger or, \ i/orse, wil l be keptin i ts prev ious pracement . rn e i ther instancJ, th is destroys the abi l i tyof the hand to act as an efficient unit and resur-ts in an incorrect handplacement, an inaccurate finger touch and, consequentry, bad intonationin this open position.

rt should be clear from the foregoing that the attainment of a con_fident technique demands that varid distinctior," u. made among positionchanges, changes in s t retch and hand extensions. And, in t ruth, eachcan be descrj-bed by the finger axis, arn and bend actions involved.

6 6The Inpr tance o f the Second F inger /Thunb Ax is :

s ince the most e f f i c i -en t use o f the re f t hand revorves around theax is fo rmed by the second f inger and the thumb, the de terminat j_on o f ap o s i t i o n i s d e p e n d e n t o n t h e a c t i o n o f t h i s a x i s i n r e l a t i o n t o t h e a r e a sof ac t j_v j - ty on the f ingerboard . Thus , i t fo l lows tha t a pos i t ion changei s a n e x L e n s i o n o r a r e l o c a t i o n o f a n a r e a o f a c t i v i t y i n w h i c h t h i s a x i spar t i c ipa tes . The f inger re l -a t ionsh ips can change or remain f i xed wh i l_ethe fo rearm and hand move, as i -n Exerc ise 2a , above; o r the o ther f rngersand thumb, less the f i rs t f inger , can move and the fo rearm remain s t i l l ,a s i n E x e r c i s e s I a n d 2 c .

Forearm AngJe and Mot ion :

when a pos i t ion change invo fves mov ing the en t i re fo rearm and handup and down the f ingerboard , the fo rearm shou ld be kept a t as c l_ose coa r igh t ang le as poss j -b l -e to the f ingerboard , no mat te r r -n what pos i t ion ,w i th the e ]bow be ing used as the fu lc rum about wh ich the fo rearm revo lves .Af te r the eLbow and fo rearm s top mov ing , the f ingers assume the i r cor reccre la t ionsh ips to one another and to the f ingerboard i_ tse l f . As the s tu -d e n t a d v a n c e s i n t . o t h e h i g h e r p o s i t i o n s , t h e e r a s t i c r t y o f t h e s h o u l d e renab]es the fo rearm to advance down the f ingerboard a t the cor rec t anq le .

A c h a n g e i n s t r e t c h , a s i - n E x e r c i s e 2 b , i s a n e x t e n s i o n w i t h i n a p o -s i - t ion and is concerned w i th changes in f inger re ra t ionsh ips and handp l a c e m e n t . I t s h o u l d b e e m p h a s i z e d , h o w e v e r , t h a t t h e s e c o n d f i n g e r /thumb ax is does no t move. we employ s t re tch changes to s tay rn the samepos i t ion as long as poss ib le when an ac tua l change wou l -d be inconvenr -en tor lnappropr ia te , o r in o rder no t to c rea te ex t raneous sounds caused bys h j - f t i n g t h e f i n g e r o n t h e s t r i n q .

Hand Ex tens i .ons . .

The techn ique o f hand ex tens i -on combines e lements o f the o ther cwochang ing methods and can be in te rpr :e ted as empTog ingr a s t re tch change toe n c o m p a s s a p o s i t i o n c h a n g e w i . t h o u t u s i n g s h i f t s o r g 1 i _ s s a n d o s . G e n e r -a l - I y , t h i s i s p o s s i b l e o n r y f o r p r a y e r s w i t h a l a r g e h a n d , s i n c e i t d e -mands tha t the f i rs t and four th f ingers ex tend a semrLone or who le tonef r o m t h e b o d y o f t h e h a n d , w h i c h r e m a i n s s t i l _ r . r t i s u s e d o n l y i n s e -quences o f four o r more no tes or in leaps encompass ing more than a majort h i r d , a s i n a r p e g g i o s , s c a l e p a s s a g e s o r r a p i d f i g u r a t i o n s o n o n e s t r r n g

A Final, Word:

The preced ing tex t can be summar ized in the fo l low ing way: whatshou ld de termine the f inger ing o f a par t i curar passage is ease and nac-urarness o f approach and mus ica l e f fec t and no t b r ind adherence to anyset o f ru Ies . when th is has been unders tood and the s ign i f i cance o f thefor low ing exerc ises has been revea led by t .horough prac t ic ing in a tech-n ica l l y cor rec t manner , the s tudent w i lL have rece ived the techn ica l p rep-ara t ion necessary fo r the s tudy o f th ree f inger s t re tches in the h igherp o s i t i o n s .

CHAPTER 16

TTD GL]SSA}JDO (OR SL]DE)

T h e g l i s s a n d o i - s a c h i e v e d b y l i g h t r y s l l - d i n g a p a r t i c u r a r f i n g e r o ft h e l e f t h a n d o v e r a p a r t i c u l a r s t r i - n g a s i L i s b o w e d , u s i n g o n l y e n o u g hf o r c e t o b a r e l y a l - l , o w t h e s t r i n g t o t o u c h t h e f i n g e r b o a r d . T h e q t i . " u . , -d o n o t o n l y s e r v e s a s a n i m p o r t a n t m e a n s o f t y i n g t o n e s t o g e t h e r b u t i sa l s o a t e c h n i c a l d e v i c e u s e f u l i n f a c i l i t a t i n g p o s i t i o n c h a n g e s , m a k i n gi t p o s s i b l e t o c o n t r o L t h e l e a p i n g d i s t a n c e t h a t a p a r t l c u l a r f i n g e r t r a v -e l s b e t w e e n t w o p o s i t i o n s . O n e c o u l - d e v e n s a y t h a t g o o d i n t o n a t i o n p r a c -t i c e s , w h e n c h a n g i n g p o s i t i o n , c a n o n l y b e a c q u i r e d t h r o u g h t h e a i d o ft h e g l i s s a n d o .

D u r i n g t h e g l i s s a n d o ' s e x e c u t i o n , t h e s t r i n g m u s t n o t b e p r e s s e d t o ohard fo r such an ac t ion wou l -d ac t as a b rake on f inger movement and maket h e t r a n s i t i o n s f r o m t o n e t o t o n e s e e m t o p r o c e e d i n f i t s a n d s t a r t s .r n s t e a d , a t t h e m o m e n t o f t h e t r a n s j _ t i o n ' s b e g i n n i n g , s r r r - n g p r e s s u r e i sl - e s s e n e d a n d t h e n i s i n c r e a s e d a g a i n i m m e d i a t e l y b e f o r e t h e a i m e d - f o r

T h e g l i s s a n d o m a y b e a r i s i - n g f i g u r e f r o m a l o w e r t o a h i g h e r p o s i -t r o n , o r c o n v e r s e l y , i t m a y b e a f a l l i n g o n e f r o m h i g h e r t o l - o w e r .

T h e r i s i n g g l i s s a n d o i s p e r f o r m e d i n t w o w a y s , a s i l f u s t r a t e d r n e x -a m p r e s ( a ) , ( b ) a n d ( c ) , b e l o w : F i r s t , a s a " s t a r t i n g " g l i s s a n d o b y t h el e a d i n g f i n g e r t h a t p t a y s t h e t o n e f r o m w h j - c h w e s t a r t ; o r , s e c o n d , a s a n"end ing" g r issando by the land ing f inger tha t p lays the tone to wh j_ch wep r o c e e d . T h e " s t a r t j _ n g " g l i s s a n d o m a y b e p l a y e d o n o n e b o w , t h a t o f t h ef i r s t n o t e ' a s i n e x a m p l e ( a ) ; o r o n t w o b o w s , a s i n e x a m p r e ( b ) : h e r e ,the f i rs t no te i s a t tacked on the f i rs t bow and the g l i ssando is execut -ed on the second bow wh ich a l -so serves fo r the a imed- fo r no te . The , 'end . -

ing" g l i ssando may be p layed on ly on two bows w i th the second serv ing fo rthe execut ion o f the sh i f t as we l - l - as to h i -de i t s sound; th is i s shown ine x a m p l e ( c ) .

T h e f a l l i n g g r i . s s a n d o c a n o n l y b e p e r f o r m e d a s a " s t a r t i n g ' , g l i s s a n -do on one bow, as in example (d ) .

( see i l . l us t ra t i on , p .6g )

At f i rs t , in order to s t rengthen the f ingers and enable them to per-f o rm gJ . i ssand i co r rec t r y , a1 l f i nge rs (o the r t han the sh i f t i ng f i nge r )that are normal ly on a st r ing when praying a note should be ra ised butkept in the same re lat ionship to each other dur ing the shi f t to the fo l -lowing note. Af ter the student has at ta ined a cer ta in fac i r i ty in per-forming a shi f t , the f ingers behind the shi f t ing f inger can be kept onthe st r ing but at d imin ished pressure. Dur ing the shi f t , however, fu l lpressure must be kept against the st r ing by. the bow. Dur ing the shi f t ingper iod ' the f ingers a lso, of course, sh i f t in to the new re l "at ionships re-qui red by the new posi t ion, the d is tances betr" /een f ingers being smal lerin the higher poEitions than in the Iower ones.

6 8T h e g l i s s a n d o i s r e g u J - a r l y p e r f o r m e d t o w a r d t h e e n d o f t h e f i r s cn o t e i n a p o s i t i o n s h i f t , t h e r e b y s h o r t e n i n g i t s w r i t . t e n d u r a t i o n b e c a u s et h e s e c o n d n o t e m u s t b e p r - a y e d e x a c t r y a t i t s - i n t e n d e d p l a c e i n t h e m e a s -u r e . r n o r d e r t h a t o n e s h o u f d n o t f a r r i n t o t h e h a b i t o f s h o r t e n i n g t h ef i r s t n o t e t o o m u c h , t h e g l i s s a n d o s h i f t s h o u l d f i r s t b e p l a y e d i n a ss low a tempo as needed to p roduce the cor rec t dura t iona l va ] -ues fo r thef i r s t n o t e , t h e g l i s s a n d o , a n d t h e s e c o n d n o t e . A s t h e p u p i r a t t a i n s m o r ef a c i l i t y , a s h o r t e r a n d s h o r t e r g l i s s a n d o s h o u l - d b e a t t e m p t e d u n t i l s u c h

s e c u r i t y i s a c h i e v e d t h a t t h e p o s i t i o n s h i f t , a f r e x i b l e g l l s s a n d o , a n da r e l e a s e o f b o w p r e s s u r e a g a i n s t t h e s t r i n g d u r i n g r t s p r o d u c t i - o n , a r rcan be per fo rmed a t any spec i f i -ed tempo rn a manner tha t meets a f l_ me_t h o d i c a l r e q u i r e m e n t s .

A l - r s h i f t s a r e t o b e p r a c t j - c e d w j - t h a f u r l t o n e a n d d i s t i n c t c h a n g e so f b o w ' l i o w e v e r , d o n o t p e r m i t l - e f t - h a n d p r o b l e m s t o a d v e r s e r y i n f l u e n c er i g h t h a n d f a c i ] i t y , o r a f l o w t h e a r m , e l - b o w a n d h a n d - a x i s m o v e m e n t s n e c -e s s a r y f o r p o s i t i o n c h a n g e s t o b e c o m e c o n f u s e d w l t h t h e f i n g e r a c t i o n sw i t h i n a p o s i t i o n i t s e l f . A s a p r e l i m r n a r y e x e r c i s e t o t h e f o l l o w i n gc h a p t e r s , t h e e x e r c i s e b e l - o w s h o u l d b e p e r f o r m e d w i t h t h e c i t e d f i n q e r _I N q S .

TNANSITIONS

@.rn

Illustrating D<anples a), b) and c), page 67

CTIAPIER 17

SHIFTING FRCTU THE FIRST TO TTIE FOTIRIH POSTTIONBY I{EANS OF AIN OPM,I STRTNG

ll l0l v0

CTose f i rs t Posi t ion- F inger

C]ose Fourth Position- F inger

D# A#

Eq Bb

enharmonical lg

Fb

t F

G b

ch

wD

nL

nl.

u 9

M

\:2

Gb

trtr

70rn the forrowing exerc ises, only the speci f ied f ingers drop upon thestr ing in a " reaping" ef fect . The other f ingers remain in the a i r abovethei r speci f ied pJ-aces on the f ingerboard. As Lhe rerurn to the openstr ing is p layed in each sequence, at - r . thumb s l ides a long the neck to-gether wi th the other f ingers preparatory to pJ_aying the next note. whendroppi-ng the f i rs t and four th f ingers, the student should make sure thatthe forearm muscres do not par t ic ipate in th act i .on; the f ingers shourd

be exclus ively moved by thei r oun muscles. 1so, the st r ldent shoutd con-t inuously bear in mind the d i f ferences in s t retch drstance between thef i nge rs i n t he f i r s t and fou r th pos i t : _ons .

E

SHIIIIING FRC["IBY

L-flf\.t'J-lir( IO

TT{E FTRST TO TTIE F'O{JRTTI POSIT]ONMEANS OF THE g-ISSAI\DO

A. Finishing tlre Shift with the Saire Finger

rn t he fo l l ow ing exe rc i ses , f i nge r p ressu re i s dec reased immed ia te l ybe fo re t he sh i f t , bu t on l y t o t he po in t whe re s l i gh t con tac t i s s t i l lmade between the st r ing and the f ingerboard. The f inger , cont j_nuouslyernploy ing the same degree of weak pressure as i t s l ides over the st r ingto i ts new posi t ion, should feel both comparat ive ly weight less ye dynam-ical ly v ibrant . At the moment the f inger reaches i ts new posi t io r pr€s-sure is again appr ied to the st r ing wi th that degree of force nec ssaryto produce a fu l l tone.

l--- 4 z

1

At f i rs t , these exerc ises shouLd be per formed upon the second st r rngsince i t is the one best su i ted for easy assimi lat ion of the techniquesinvolved. rn addi t ion, pract . ic ing them and the var iat ion above , prusa l l subseq 'en t g t i ssando exe rc i ses on a r l s t r i ngs , as shown be Iow , w i r J_enabLe the student to der ive thei r maximum benef i ts more easi ]v .

tvrl l

72

Shifts Erploying Different Finqers

c h ; F + : ^ ^ F - ^or ! !L L t l rg L rem a la t /e t F inger in the Lower pos i t ion

to an Upper Finger in the Higher position, and Vice Versa:

In a r is ing g l issando, immediate ly before Ehe jower f inger , s l id ingfrom i ts lower posi t ion, arr ives at i ts p lace in the h igher posi t ion, theupper f inget percussively drops upon i ts ass igned p lace next to i t and,thus, in terrupts the g l issando.

In a f a l l i ng g l i ssando , immed ia te l y be fo rein i ts upper posi t ion, has arr ived at i ts p laceIeaves the st r ing, and leaps in to the a i r , thusdo wi th a weak p izz+, as the Lower f inger dropsIa r l y upon i t s ass igned p lace nex t t o j . t .

the s l id ing upper f inger ,i n t he l ower pos i t i on , i ti n te r rup t i ng i t s g l i ssan -p rec i se l y and pe rpend i cu -

The sma-L i , d iamond sha " ne iqhhor i " no tes in the exerc ises be loware the normal notes n wh ich the pa r t i cu la r sh i f t i ng f i nge rs i nvo l ved -

on toward wh ich Lhe hand is mov ing . They serveas a concre te , conven ien t a iming po in t to accura te ly de termine the newp o s i t i o n .

Shift inq from an {Jpper Finger in the Lower Positionto a Lower Finger in the Higher Posi t ion, and Vice Versa:

In a r i s ing g l i ssando, immedj -a te ly be fore the - lower f inger , s l id ingf r o m i t s l - o w e r p o s i t i o n , a r r i v e s a t i t s p l a c e i n t h e h i g h e r p o s i t i o n , t h eupper f inger (whose pressure on the s t r ing has been gradua l ly decreasedf rom the beg inn ing o f the lower - f inger s l ide) leaves the s t r ing and ieapsi n t o t h e a i r , t h u s i n t e r r u p t i n g t h e l o w e r f i n g e r ' s g l i s s a n d o w i t h a w e a kp L z z + -

I n a f a ] l i n g g l i s s a n d o , w h e n t h e l o w e r f i n g e r , s l i d i n g f r o m i t s u p _p e r p o s r t i - o n , r e a c h e s a n d t h e n p a s s e s t h e a i m e d - f o r n o t e , s p l a c e o n t h ef ingerboard , the upper f inger (wt r i cn has been po ised in the a i r ) d ropsperpend icu la r ly and percuss lvery upon tha t p tace , thus in te r rup t ing theL o w e r f i n g e r ' s g l i s s a n d o . A t t h e s a m e t i m e a l l 0 f t h e f i n g e r s r o w e r t h a nt h e p e r c u s s i v e f l n g e r ( n o t o n r y t h e s r i d i n g o n e ) , f a r r i n t o t h e n o r m a tpat te rn requ i red by the new pos i t io ' . when th is i s done a t a h igh enoughs p e e d , t h e l o w e r n e i g h b o r i n g n o t e i s n o t h e a r d .

n1

2 n l

3 n 1

n1 4 n 1

V4 n 2

A11 o f t heva r i a t i ons :

exerc ises above shourd be per formed wi th the for lowi_nq

74

C}IAHIR 19

TTIE S]}rIEM'J POSS]BI,E GLISSAI{DT ON ONE STRING!{I{N SHTFTING FRC[4 TTIE F]RST TO TFIE FOURIH POSTTION

Play the fo l l ow ing exe rc i ses sop r r -a te f i gu re i n f i r s t pos i t i on , andf i gu res unde r l _e t t e r s A , B , C , and D^ + ^ € E> L 4 ! ! .

that each one begins wi th the appro-then sh i f t s success i ve l y t o t hoseimmediat .e ly fo l lowing on the same

tr

For pre l_ iminary study, however, the exerc i -ses should be pract icedrn the var i -at ions below, the shi f ts being per formed dur ing the reststacked on to t he l as t no te o f t he f i gu re i n f i r s t pos i . t i on .

V a r i a t i o n

otr

CTIAPIER 20

DGRCTSES FOR ELBOW FT,EXfBILTTYUSING FIRST TO FOURTH POS]TION g,ISSAIJDO SHTFTS

These exerc ises should be per formed wi thout pausrng on any par t ofthe st r ing, us ing cont inuous a l ternat ing g l issanai ana percussive move_ments. par t icu lar at tent ion shour_d ne paia to the perpendicular fa1l 0fthe f ingers and to the rerease and reappl icat ion of f inger pressure.These exerc ises are a lso val 'd for a l r o ther posi t ion changes.

A

B

gtdss. FOURTH POSI"IOff

FIRST POSI?ION

'M n4\rA.tr

f f i f f i f f i

xl: From this point on, the second and thirdfingers must temain poised in the air,in order not to interfere with the sl. id_ing f inger .

CTIAPTER 21

DGRCISES FOR CORRECT F]}IGER POSTTIREDURTNG POSITIO}J SHIFTS

rn the fo l lowing exerc ises, speci -a l care must be taken to preservethe perpendicular posture of the f ingers as the shi f t f rom f i rs t to four thposi t ion is accompl ished, wi th extra at tent ion paid to the d is tances be-tween f i nge rs two and th ree i n e i t he r pos i t i on . v i sua l t y , t he i nne r s i deof the forearm and the f i rs t f inger form a st ra ight r . ine. Dur ing theshi f t , the lever formed in th is fashion must never be bent at the wr is t .

HE

76x2: A t th is po in t t the four th f inger must

drop perpend icuLar l_g upn the s t r ing .

x3 . - A f te r the f i rs t f inger s -Zrdes back toi ts f r rs t -g ts i t ion E, the th i rd and.four th f inqer must be sure to d . rop s i_mul - taneousJg and perpend icu la r tg upont h e s t r i n g .

T.t're tvrc stages of shifts:F:irst stage (xJ, page 75)

The tr^ro stages of shifts:Secord stage (x2. pge 76)

( ! O t a n J ' l - t u s t r a t L O n O t x j I g > a g e / 6 ,see the photograph precding plge 4:"Stretch and d is tances in the f i rs tp o s i t i o n . , , )

The specified fingers must d.rop firnlg,perpendicuTarlg and sjmuLtaneouslg upnthe st r ing. The student should bL

"on_t inuouslg aware of the d is tance,s be_tween the second and th i rd f ingers.

x5: At th is point aJ1 f inge-rs nust remainupon the string for as long a periodas 1rcss:..bJe.

x6: Al - f four f ingers must par t ic ipate inthe g l issando. par t icuLar at tent ionmust be paid to the varg ing d is tancerel-ationships among the fingers whensh i f t i ng pos i t i on .

NJ

RELATIONSHIPS BETWEEN THE FIRST AND FOURTH POSITIONS

DoubLe Poss ib i l i t i es o f p l ay ing Cer ta in No tes

I0

q r t . l<r Gde .o. = ifi i

= EIRSI FOSIfTON

c_r 2 3 4

o_--o

@ = FouRTltposfrroN

7BCHAPIER 22

TI{E HALF POS]TIO}J

Though the ha l f pos i t ion hason the f ingerboard - because i t i sscro l - ] - the hand is p laced on thesame reLat ion to each o ther as in

t h e w i d e s t s t r e t c h e s o f a n y p o s i t i o nthe one where the hand is neares t thef ingerboard w i th the f ingers in the

t h e f i r s t p o s i t i o n b u t a h a l f - s t e p l o w -

l l0l l l0lv0lll0lv0

F inger enharmonicaJJg

Table of Enharmonic EquivaLent F inger ingsfor Each Str inq

G '.G-

l o

'11o'T''$I. fiel l " l l l o

? 5 {cr PG z\t

lv"

€; tr TE

rrn

b)0 ) r 4 Z 2 4 1 4

tr_--_

CHAPIER 23

TFIE FIRST AI\D TTIE RATSED (OR DflEI!DED) TTAST POSIT]ONS

These posi - t ions inc lude some of the more d i f f icu l t and t roubLesomeo f t he o rd ina ry s t re t ches ( t ha t i s , up t o a who re tone ) on the f i nge r_board. one must be carefur not to in jure any por t ion of the hand _ Fqna_cia l ly the tendons between the f i rs t and second f ingers - in p lac i ;n=#:-f i r s t f i nge r on the s t r i ng . The sma ] l e r and more de l i ca te t he hand , t hegreater the danger. one must be pat ient and know that i t wi l - l_ take t imefo r t he f i r s t f i nge r t o ad jus t t o t h i s s t re t ch .

Close ard Open First positions

f t must be emphasized that i_ f the f i rs t f inger moves, i t should moveaway f rom the second f inger , / thumb axis and not the reverse s ince th iswould set the hand into an awkward p lacement . By pracing the hand rn thecLose f i r s t pos i t i on and s t re t ch ing the f i r s t f i nge r a ha l f _s tep back ,the hand i s i n t he d im in i shed f i r s t pos i t i on . r n so do ing , t he f i r sc

;i:: i l i iould be straisht and not curved- rhe thumb does nor chanse

A. lhe

BO

Cl-ose First positron

fvo l l l0 l l0 l0

Tab le o f

@n

fv0

First position

l l l0 l l0 lo

F t n g e

trtrtrtr

Enharmon ic 'Equ i va len t F inge r i ngsfo r Each S t r i nq

Close First position

l oenharmonically

h* $^ bo.

@n First Position

E x e r c i s e s f o r s h i f t i n of r o m t h e c l o s e f j - r s t t . o t h e o p e n f i r s t p o s i t i o n

b y r a i s i _ n g t h e f i r s t f , i n g e r o b l i q u e l yand dropp j_ng i t a ha l f_s tep lower

f- lL1t

f r

1\-j1

80

C]ose First position

fvo f l f0 l l0 f0Open

fv0

First position

l l l0 l fo lo

trtrtr

T a b l e o f E n h a r m o n i c E q u i v a l e n t F i n g e r i n g sf o r E a c h S t r i n q

Close First position

l oenharmonically

b* ft- bo. h-

Open First position

fnlL:--J

f r

Exe rc j - ses f o r sh i f t i ngf rom the c lose f i r s t t o t he open f i r s t pos i t i on

by ra i s rng the f i _ r s t . f i nge r ob l i que l yanci dropping i t a hal - f -s tep lower

1\-i1

c-l__

B2

B. the Raised or DcLerded First Fosition

trtrtr

Table of Enharmonic Equivalent Fingeringsfor Each Str ing* ,

I' lA

4'o F'. E'o F: At qt" H:" o

\

\ o

6LilHHi

Finger

I r 2 3 . 4 t + Z 3

lo enharmonicallyI t , 2 3 t - 4, I ' r { , a t L

to be Do. Eo. q,o

tto I t t to

" l r z , _ 3 , n I r + z I 4

CHAPTER 24

TIIE CI.OSE AIJD TI{E RATSD (OR DfiHVDED) SECOIVD POSTTIONS

Cl-ose Semnd Position

lvo l l l0 l l0 f 0Raised Second position

lVo l lto f lo lo

FINGER

Table of Enharmonic Equivalent F inger j .ngsfo r Each S t r i nq

Close Second Position

Raised Second position

e il+. -sr. fl_s

l o

arhormonicolly , IT.- D.s. hs tg

l l "l l l "

v { } g s u

l v o

(T €

l;D G'

Penhormonicqllv

hs- [s 'h+

l l o l l l o

e

l v o

{+u

: - - E - ' -

e

82B. the Raised or &cterded First Fosition

trtrtr

Table of Enharmonic Equivalent Fingeringsfor Each Str ing

L l A

4-. F-. E o F: H1 qr" Q:"tEl/t ; t - tl P l .- i o

1 r 2 3 4 I + Z 3

lo enharmonically

, 1 * , 2 3 t 4to be bo. ho qs

| + 2 3 4

C}IAPIER 24

TTIE G,OSE AIID TFM RAISM (OR Fj{TB{DED) SECOM POSITIONS

Close Semnd Position

lvo l l l0 l l0 l0Raised Second position

lvo l l lo f lo to

Table of Enharmonic Equivalent F ingerrngsfo r Each S t r i nq

CLose Second Position

Raised Second Position

€> -s g-s

l o

orhormonicolly , I4cr 0.s- [-o ts

l l ol l l "

0 € t q e \) v

l vo

liJ €

ID G

Penhormonicolly,

hs. hs- tQl l o l l l o

e

lvo

l l "

s

B4

TI{E GOSE A}.]D

i\. The CLose Third position

C]]APIER 25

RAISED (OR DO'ENDH)) TTIIRD POS]TIONS

Enharmonic Equ iva len t t - j -nger ingsf o r E a c h S t r i n q

Tab le o f

,@

86

'l'-,9-rf-EE

F i n g e r

i l l0

E : '

F ;

*i: l

E -a . ;s*

F'

B. The Raised or Hctended Tlrird position

fi-

fa2 3 4. e q l e l q . e

lv0

T a b L e o f E n h a r m o n i c E q u i v a l e n t F i n g e r i n g sf o r E a c h S t r i n q

3fle t'e

oc)

e ! e

loerrhOrmOniCOlly

h+ hs h-s h=l l o

ho k^ h . . h+

l l l o# It

l v o

88

CHAPTR 26

SHIFT]I$G FROM TTIE CI.OSE THTRDT0 TTm OPEN FOURIH POSfTICI,] AilD BAC( AGA]N

A. Shifting position rntrile Altemately D<pandingand Contracting Stretctres

xL: whiLe the f i rs t f inger is sh i f t ing upa semitone, the other fingers, with aquick and el_astic movement, also moveupward a whoLe tone abve their oriq_inal posi t ion.

At x2, the ent : re process js reversed.

B. o.l=p*ltory b<ercise for a lrtrole_Tore Shiftwittrout @anding the stret.r, u.t*"r, trr.'rii"t and second Finqers

c. @ardiry tle stretctr betrcen the First and second Fingerslrthile Al-ternatery strifting thre seqcnd and For:rbh Fingers a lail:ole Tbne

x3: The first f inger does not move duringthe second-f inger shjft.

x4: At this trnint, be sure that the otherfingers move a whoLe tone while thef:.rst finger onlg moves a semjtone.

S."i.'*'

;..F '

i r-*.F

D. A Preparatory E:<ercise for Shifting the Ertire Handa Vftrole Tbne tLrrough Finger Sr:bstitutions on tfreSane lilctes wittrout bcpanding ttre Usr.:al Stretch

e) z

E. bpanding the Stretch betereen the Firstwhile Shifting position by Alternatelythe Secrcnd Filger for tlre First or thefor the Second on tlre Sane ltrotes

ard Seocrd FingersSubstitutingFourtlr Finger

x5: The other fingers move awag from thef i rs t f inger when the su.bst i tu t : .onoccu l s .

x6: The f i rs t f inger shor tens the st retchbetween it and the second finger whenthe su-bstr tut ion occurs.

x7: As the first f inger sLides a semitoneupward, the other fingers, togetherwi th the thumb, r ise in the a i r , andwith a sudden motion, exynnd thestretch to a whoLe tone.

x8: The stretch is contracted to a hal-ftone in the reverse of the manner em-pLoged in x7.

x9: Be sure that the first f inger onJgsl.ides a semitone downward as thefourth f inger sLides a wlpLe tone.

Special Note to the Student

In order to employ the third finger ina l l exerc ises in th is chapter , these stud-ies should also be practiced in the form oftheir enharmonic equivalents.

F' Shiftlng Position and @anding the Usual Stretchby Ocliguely Dropping ttre First or Fourth Fingersa Half or htple Ttore Higtrer or Lcner

9 0

C}APTER 27

SHIFTTNG FRO{ TTIE F,OURTH IIVIO TT{E RATSED THTRD POSITION, AI{D BACK AGATN,TTR*JGI FINGER SLTDES, SUBSTfTUTTOTTiS-ffi STRET.}IES

S p e c i a l N o t e t o t h e S t u d e n c

The re la t ionsh j_p be tween the ra isedth i rd pos i t ion and the four th i s - the sameas tha t be tween the ha l f pos i t ion and thef i r s t .

r - 1 b ) 1 ^ a , t^l t)-l{-. t---' d),,t.^-1 4 e )(3

Var i -ous Sh i f ts be tween Two S t r i ngs

b). 4 ? 3 .| .?al

r-+1(=)

-rr-, O t

i \ 1

T . ;

. @ , o

where there are two st r ing symbols in th is and subsequent exampJ-es,the student may erect to p lay on e i ther s t r ing wi th the appropr iate f in-ge r r -ngs .

ro lalo) il'[!J

x t

b l l 2 t

a'

2

J C Jl lg t

tII

e'

1 zc ) l

.4.

@.

92

CHAPIER 28

TI]E C]OSE A}JD OPEN FOURIH POSITIONS

In the fou r th pos i t i on , t he d i s t . ancessma l - I e r t han i n t he f r r s t pos i t i on bu t t hege rs rema in t he same.

be tween f i nge rs a re na tu ra l l yre la t i onsh ips be tween the f j - n -

A. The Close For.:rEh position

trtrtr

ll0ll l0lv0

F inge r

Table of Enharmonic Equivalent Fingeringsfor Each Str ing

t 2 3 41 6 ' o f o < > r 4

o

enharmonicall5r

e f g f o

DJLIIIII'Ig IIUIII

into the Cl_oseEne Lpen .r'rrst yosrtJ-onFourth position

with the same f inger

4 - ! 1 - +

from the Lower to the f i n g e r

t - ' 2

upper

4

( c ) from the upper to the lower f inger

- t 1 : o

2 - 2 1 - z

94

C . Sh-iftllg fron ttre Cl,ose First positioninto ttre Open Lo*ered For:rth positron

(a) wi th the same f inser

4 - t

from the lower to the

2 ' 2

from the upper to the Iower f inger

t _ ,

2 - 2

X1

1 - ,

(b )

n b<ercises in Shifting frcm tlreto the Close For:rth position on

@

Raised First positionthe Seond Strino

96E' !\:rbler Eb<ercises ix shifting frcrn the open First position

to the Close For:rth Fosition

(a) wi th the same f inger

( b )

@

from the lower to the upper finger

( c ) from the upper to the lower finger

3 - 4

4 - 2

i:-ai

r?

Specia l Note to the Student

f f the enharmonic equivalents on thelower l ine above are not p layed in equal-tempered intonat ion, the f ingers which p laythe a l - t e red no tes - t he E# , t he A# , t he B# ,the D# , e t c . _ w i l l 1 i e somewha t nea re r t hebr idge than they would when p lay ing the un-a l t e red ones . Tha t i " s , t he E# w i l _ I be h igh -er in p i tch than the F! , the A# h iqher thanthe B f , t he B# h ighe r t han the Ch , e t c .

l l0 __ l0 i lo _ . , __ il10 ---_ tv 0

t0-. - lto lo _ ll0 t0 _, l l0 t0 -- _ ll0 _- 1il0

i r r * E g ) 11

t h r-1-i-=:"/

l l0-- t0 - lyo_ l l,o tvo_ i lto_ l lo_ tf lo ll0 -- l l0 _

o , o H b , F

EIl 3 lt3l

trlLA

al 3 lLA

Y11a-,

n0 ) - "

l E l *u) E

e ) [

g,rro,H

9 8

F. The Open For:rttr position

TabLe of Enharmonic Equivalent F inger ingsfor Each Str inq

enharmonically

Al though both are considered normal s t retches, greater ef for t andphysiorogical d i f f icu l ty are, never theress, involved in correct ly mas-ter ing the open st retch than the crose one in the four th posi t ion. Themain d i f f icu l ty is in the necessl ty of the f i rs t f inger - though at awhoLe tone removed f rom the other f ingers - being able to reta in ( l_) r tsperpendlcular re l -at ionship to the p lane of the f ingerboard, and (2) i tsabirity to touch the string in the same way and with almost the samepar t o f t he f i nge r as i t does i n c l ose pos i t i on ,

To achieve Lhis, the arch l ine of the other f ingers f rom the knuck-les to the tips must be l-owered in relation to Lhe fingerboard and madef lat ter . o f course, the in ternal re lat ionships of the f ingers to eachother remain the same after the l ine is lowered. The thumb arch alsof la t tens out , moving in tandern wi th the knuckles.

rt is possible to move from the close to the open position in twor'rays: by raising the first f inger obriquely and dropping it perpendic-u lar ly , or by s l id ing i t a long the st r ing.

lv0 lt0lilo

F i n g e r

tr

. \ r 2 . . 8 4De lrl 90. {D

G .

@ r fo

-1----

bcercises in Shifting fron the Close First positionto the @n Fourth Position on the Seond Strinq

@

100

H E:<ercises in Shifting frcm theto the Open Fourth position on

Cl-ose First Positionttre First String

w i t h t h e s a m e f i n g e r

from the lower to the upper f inger

2 - 1 5 t

( b )

@

@@

r. F\rrther D<ercises_ in str-ifting fron tre open First positionto the Open Fourth Position

(a) w i th the same f inqer

(c) from the upper to the lower frnser

4 - ! 1 - a

from the lower to the upper finger

f r_3 l0)

(b )

I +-ZJ ni

l-r-Elol l ' - ? 3 - t

I02

F-alo) n - 1a -

+ f ' l l

l 3 - 4 1 " '

1 - ,

3 - 2

[T:r I ol 2 - l

/ e l f rom the upper to the lower f inger

Renember that at the shif t the thunbof the Teft hand. remaLns alwags jn contactwith the f ingerboard, and that al l the f in-gers a re cons tan tLg in a ver t i caL prs tu re !

lzril o)

fs-T161

Eilor

J. Exercises for Trarrsferring theof the First or For.:rth Fingers

rrn F=-lF-_rl

Stretchesrnto the Fourttr Position

Close and Openfrom the First

fn the same way (w i th the same chromat ic a l te ra t ions)

tr I@

Var ia t ions fo r the bars :

E:ti it _;la )

104

Var ia t i ons f o r t he ba rs :

@ ^ @

K. Variations on the previor.rs rcises

t o +

e)E

0F1-a- ' z

e ) t a g r r f r" | 7 4 g ) 1 2 1

L. Various Shifts to the Fourth position

f f i r

,/--:;> z----\_r h - * r L ^ \

o l I G ! - o

l lo

1

rrn o)c

106

':rJ {1,,r^, d)+lllo

A3 1

r 4 r 4 t ' 4 t

,y

l l0 l0 _- . - - _ l lo t0

---/ {t

M. The Raised For:rth position

Because of the constructionof the ceJ. l -o,s neck, i t is notpssible to keep the thunb pre-ciselg bel,ow the second finqerin th js ps i t ion.

This, therefore, ma7 prop-erJg be counted as one of thehighet positions since one oftheir claracteristics invoLvesnoving the fingers awag fron thethunb.

Table of Enharmonic Equivalent Fingerings. for Each String

1

+

l l0l l loIV0

F i n g e

trtrtrtr

+ 2

fl=4

*=

5+ 43+ + 4 t i + z 3 4

locnhormonicollyb = t s E e l l o

be t . . bol l lo lvo

108N' changing frqn the close Fourthr Position to the open Raised Fourhh position

-bg ra is ing the second, th i rd and four th f ingers obl iquerg(during the rest) , and dropping them vertjcal_l_q.

@-, E-'* @.- tro

l+ltil

lal--.ll l-L 3 \

i Er Ht" J " J o

t-51LAa E l

o J o

t-51llj

@-z1 3 l - -a_2

o oo

Sh i f ts by s l id ing the second, th i rd and four th f inqers

H'LilJ

.---J

x) from this sign onwards, we plag ons t r ings I and I I , bu t the f i rs t f inger re -majns on s t r ing f I I where i t has been be-fo re .

o ) r 4 o ) 1 3

r + l tl t l "l , t l . ,ri!

,.t:J-iJ

lal--.l3 l -*L?t-*

u / l 2 + 2

rT-nu J 4

B O O K l / P A R | r T r R m

The upper positions and. their Approach throuqh Finger Extension Chanqes

109

CFIAPTER 29

TIIE REIATIONSHTP BEIWEMi fi{E FIURn] AI.ID TT{E "OCIAVEI' POS]TIONS

The le f t hand is in an , 'oc tave

placed on the note an octave abovesh ip be tween f ingers i s the sane asd i s c u s s e d .

pos i t i on " when the f i r s t f i nge r i sthe open st r ing tunj -ng. The re lat ion-

in the lower posi t ions previousl_y

A. The Close, Qlen ad &tended "Octave" positions

Close "Octary'e" positionOpen "Octare" position

Close "octave" posi t ron (p laqing A-naEural_ / B- f la t / C-natura l )

l a ? b

IIO

ncended "@ta\re" Posilion

inger

t { 1 ) )"v

tl=F,=+--=".L*r3loi*>-r_j:t-e*h-+i +--.:-.--.---l----. .- -r.-i1- ;:_---:L'-

--::--. *]:: .-'------fl

u1

Close Fourth Positionard fuen "octave" Position

Hterded Fourth Positionand D<tended "octave" Position

z r13

r + 2 t B

B.ScrrreRetat iorrshipsbetrpeent}reForrr tharrd' 'octarre' 'Posit ions

F inger

@

@

@@

@

@

F inger

c@@@

@@@@

1 + ? I-a .34 1

LL2CIIAPIER 30

PREPARATOFY DGRCISES FOR TT{E CORRP T PI'ACEIVE\II

OF TI{E LFT TIAND IN ''OSIA\IE'' POSITION

x: Rathet than wai t to at tack the F

on i ts regulat beat , the th i rd f inger moves

higher when the f i rs t f inger h i ts the f i rs t

no te o f t he f i t s t measu re .

r r o l I +

1 1 r2 2 1

l f. / 1

? l , . l- tq

r t 3

tr-- --r-rn

I L l

X c . x

x x

X: Rather than wa i t to a t tack the no te

on i t s regu la r beat , move the th i rd f inqer

h ighet a t the same t ime tha t the f i rs t no te

in the bar is PTaged '

Var ia t ion

I I 'T

CHAPTER 31

DffENS]OI{ D,GRCISES E\4PIOYI}IG TTIE FO{IRTTI FIN@R

Repeat each two bars , then the en t i re exerc ise '

X: The second

ment a f te r the f i t s t

u r e .

f inger shjfts its Place-note of the f i ts t meas-

variation

l$

In t he exe rc r se

exe rc rse .

be low , P rac t i ce eve rY bar sePara te lY , then the who l -e

b ) r r l r r . l t L t q

CHAPTER 32

DGRCISES FOR EXTNJSION CT]AI\@S

BEIVTffiN TIIE SECOND AI\]D TTIIRD FIN@RS

:'. ' whiTe the second f inger sLides at

th is point , the th i rd ' f inger temains f ixed

so that its tel-ationship to the first f in-

ger is augmented bg a half-tone'

Ir6

, l - - l& n 4 n

'{-9'

3 - 3l,.--- |

d f 4 *o

d- fo dA3

o l '+ 4 .

. r _ ,

3 - 3

KeePing the s i len t f ingers on

the f ingers remain in ther r ProPer

the d iamond-shaped no tes insures tha t

re la t ionsh iP to each o ther '

SPeciaJ NoXe to the Student

Where Possible, the exetcises from 7

to 3 slpuTd be ptacticed with the fitst

finger on the fotTowing wltoJ'e notes:

L20

fl-f-l r. a 3

CHAPIER 33

SHIFTING TI{E FIRST F]NGR

WHILE KMPI}G A VflHOLE_TONE STRE'ICH

BETWffiN FINC'ERS TI^D AND I]IIREE

3 , ? 1

r E l 4

,,[1] 3.

l - l

3)

CIAVE LEAPS USING AIi I}TIERMMMA]OR OR MINOR SIXTII AS A BRTDGE

L22 CHAPIER 35

ffMCISES FOR GIAVE-I,EAP SECURTTY

, r 3'7t \ .,t4

\ .,url

, 3^al \ ,Ti

\ ,{4

\ '.i

-g

tr3.-r .4 c-\

3 . 33/! C\ ,:al

r '.i

\ ,2f :

\ , . ^

L23

\

.)2/-t \ t 1

ta: 'ral

'.1

,A 4a-:rl

-

GAPTER 36

SI'IULTANECIJS POSITION AliD STRIIIG (llAN@S,

SCI4ETIMES USING OSIAVE LEAPS

i l o 3

124

L25

Var ia t i ons on Exe rc i ses I , 2 , 3 , and 4

1

lv0

4 .1

LeC .

l l l 0

4

1

t v o

t1

tv0

3

lv0

3

I l l0

.1

tv0

l i l0

lv0

L26

sirnile

tC> si,nfite ,--

Ti 1

lv0

I

l t 0

IC

II

=Il o-il l -

I

l v0

1

1l _

l 0

1 _

a ? ? t

l l 0

1

vdTaj)> .-.

l t 0iio

- i It.

128Prac t ice the

t e r n s :

exerc ises and var ia t ions above w i th the fo l low ing pa t -

b)

Further Variat ions Combining the Lower and Upper Posit ions

the var iat ions above wi th these pat terns:Also pract ice

L29

@ 1 4 1 4 t*i--.-n 4 z

130

+ 3 1 # ,

________________ -- - - '

- - -

t3 I

.;}

A lso prac t ice the var ia t ions above w i th th is pa t te rn :

SIREI(}I DfIENSIONS BEI9IEn{ FINGERS

ToTHEI} ] ' IER\/ALoFAF0[JRII ]o}JTI ]ESAI '4EoRDIFFERENTS' |R[NGS

L32

a)El 3 tl . ) |l / r I

i ' -T - f l l 4 r -4 , r \ 1

3l', 4n 4

; - 7J t

EIB

L1

/ ' t . '

r " 2 ! q

1 ^--\ .--, z: r \ l - -- j - l

133

3 - ^ - 3 1 3 - , ^ 4

134 CT!\PIER. 38

DGRCISES IN PIAYING CXIRON'IATIC SCAI'ES AND ARPEGGIOS

CDI TTIE DIMINISHED SEVE\TN{ CTXf,RD

tlo setflpre

llo semPte

llo senpre

a ) l l

llo setnPre

b) zr | \ I \ '

I tL | '\ , n !1.,n= t \ ?

I T t L i l r I

llo senpre

l vo l t to i lo lo

Var iat ions

' 1 I \ t - l i 1 4 r 4

r37

Eleven

(These Pages

(S.J-O PAI{Ifot

Pieces for Cello and Piano

(Book One/Part one)

mag be temoved fot Performance')

SOLEMN PRELUDE

MEI.ODY

DUEI

Andanfu cautabile

k

138

MINUST

ROMANCE

Moderalo

I39

BASSO COIII.INUO

Andante

Adagto cantabile

Allegro

r40

Allegro ben ritmtco

SALTARELLO

TIIE WIND SCOTIBING TIIE FIELDS

_---

il

L12

THE COMPLETE CELLIST

(The Matz-Aronson CelLo Method)

CONIENTS OF MK TVD

PARI ONE

Advanced Left-Hand Dexteritg ;Exerc ises in Percussive Finger Act ion

( IncJuding "The Geminiani Gt iPs" ) ;

And Other Exercises for Strengthening the Fingersand Making Them IndePendent

Percussive Finger Action in Left- Exercises for Finger Indepen-

fUrd arpeggios dence with One or l,loreFingers at Rest

The "GefiLinian-i Grips"Double-StoP Exercises for

D<e{cises il Persussive Finger l4enorization of Finger Place-

Action on llruo and Three lrEntStrings in A11 Positionsard tsreYs

PART T$D

Further Exercises in Percussive Finget Action

Tte si:<teen Basic Finger4ranging nlrther variations ccftbinjnq

patterns on ttio-Mj""""t Sfriigs Similar Patterns on ttre D

in Close Position and A Strings

(The sixteen "Grips" ) variations on Each Pattern on

Suggested Variations on ttre Fj-rst A1I For:r Strings

and Seoond Basic Finger-Changing Pat@rns

143

PARI T}IREE

Tntroduction to Thumb Position;

,studr es i, o ",2"12'r:,:"^:i1:," t^ "' !I!'l-1:";::2:' to s ca t e s tud v ;

Ptel-ininarg Exercises for SQaLes ;TecIu't ical- Analgses of ScaTes and Chords,

and a Sgstematizing of Majot and Minor ScaLes

Accor(l ing to the Chtomatic Series,'

A Definition anc! Illusttation of Natural and ArtificiaL Hatmonics

Thurb Position

Basic Finger-Ctranging Patte

Fi

S es in Percussive Action asPrel ies to Scale StudY

ts of Sliding

(l4aking the Thumb a Part ofthe Hand)

Borirtgs

Tonal AspecLs of tlre Six icBor'rings

Stroke Variants

Daily Exercises for Elastic-ity of tlre lnirist and Forearm

FOUR

Right -Hand Exetc ises

Ttrur{c-Position rcrses

boring Strings

Substitution of

Prel- rcises for Scales

Position to Position

ics

S l€ights

Do d RhYEhTLS

Bor^ring ises with rriPlets

Hercises lc6nentof the Rigfrt

Arpeggim ot