You are on page 1of 27

GRADUS AD PARNASSUM

Twenty Four Studies

Edited by FRED ZIMMERMANN FRANZ SIMANDL


(See Editor's Note on the last page,) 6 3 21 t 3 ~2bi 6 2
6 2
2 b b

_
r

O O
3 2 3 2
~b(,1 2 1 2 L1 b 1
f
(~

~ f #41i I& P ~ T ~
i~
G~;,
b b
1

3 ,1 2 4
,c Nr 4
' SJ.17.
.1,~ t:)/77~~~~:7~7 LI LI .iit ~w.~~ AN
J f71rj~-----~~il-!~/ 7"r:d

2 4
4 2 4 1 4 2 2 2 2 1 2 ` -06 1 2 4 hAR 2
~alvwt :)r-1" ~1" >~ M"IIIIIIIIIIIIIIIIII
MEN~q 1:7i11s1~~~ ~.~
AM 11i11111111WIIIIII~1~1111~1~111111"1~11~11~111111111~

1440 Copyright 1957 by International Music Company, New York City


1440
n n
3
A -A77 IW At 7 , 2 2 A 4 1 Q
m ~a . , M.~i~~~
rr~; ~~~ mr

3 2 2^
2 1 r, 2 4i--2
d
1 3 1 4 ^

9-4
~f--~I-& OR ~f= -
-J

--, D- _
a 4 3 90
1 2 1 z" ~---~
4 1 1 2
\ ~2
~~'7~

IV

dolce

_ 2 2 3 1 8............ ... ..... .... .... . .......

P:9 pol

8. .... .. ...... ... ... .... . ... .. ............. ........ .......... ... ... .......... ..... ........ ... . ..... ... ...... .. ...... .. . .. ......
b 3 d 3 1 4 2 1 d 1 2 3 3 2 1 2 2 b a.-~1
6b
i ~;/-* -, b 06
vc 71%
8..^~ . .3 .. """ ..--._ 2"""3 .. .5. ... ..... .." .. . 3 "" . .. .. . . ." .. . .. ... .. ... ..... ... .. . .. ... ... .. ".
.2---------------
2

r f3
2 b 2 d
" 6 3-11 1
f
1 2144 g ii 6 4 #i
4/,V
lip
i
F I 0 a i 2
_ 1 4 1 13 b 8.. .. ... ... ..... .. . .. . .
12
~4 234 2 1 2 1 2~~
F- i -9

8. ..... ..._.. .._ . . . .. .. . ... ...__ ._._ . . ._ . .. ..... ... .... 310 d 2 1
41 4
4 1
.t 2 3 2 b~~1 'b
2~-~1 b.= 1 4 1, i 1 1 4 1

1~~2 4 4 3 2 4
4 1~1~1 4 2~~ 4 2
2 4 1 4 1 1~1 . ~2
1 1 4 1 q IP 106

. ..__ . . . . .. . ....
. ........ .. . . ------ .25 . . ...... ... . ...
8 .1 ..... .
0 2 2 -----------
1

3
1~~2 1 A m 1 b '1 1
1 2
q #~

D A D A.

2 32 1
-~1 2 1 4 3 1 2 ~1 3 3 q 1 4
err

. . ... ..... ............ . . ._ . .


8 ------- -- * --------- . . . . . . . .. . . ... ...
3

~~v~~~rr.rr ~rrrr~~r~ .~rrirr~r~~r~rrr~r~r~~rr~rrrr


PRO

3
1A 1 1~~1 1 \1 1
Tf~rp
t7- #r-~ "t
a
0

b ilvL 1 4 z4 4. . qr
2
qf!'
4 . 1 0 1 i

8.. ..._ .. ....... ........ ... ... .. ... .. . ....... ..


.-----------------
1 2 8. . 3 2 4
3
4
~1 ~4 1 2 361 1 1
pr
.61, 1 2 1
`4
2
4 b
t" O ~s fft~a 1 "1t 2 1
2 ~- 2 1 b 4 4 2 !k 1
-r - 1 rrr 1 i i i it
19

1440
'
4 3
,o 0
3 3
14 .1 ,^4 . 4'1
2
" 2" ' t

4 ~ 1

q
^ V nV n ~. n M.
v

t
n V, ^V
MW= IV aorrr.~ irvoarrrrr
--r-.-.-r M~rrwrrr~a~ar~r~wrrr.~r~r~~rr
omrA~-
Awtiu"
r~MMW for iW for Arr

. ... .2....
2 4 I A-3 8

~,rr"r~r~r .r sr~rar
~~ 1~~yr~si a~ ~r i
20

.._ .. . ......------------------ . . ... .. ... .. ...... ......... ,


1Q::
JwrL~~r~~w~ ~ ~ ~r"`~
J7Jwr~r~Jwri~ ~"--

s
Ctl1 ~"1

ni-m Wrwr~ d
I1: :~=/T
1Q nIJ
dlm~r
:,~'~Jrsl/~-=~ OEM-
am

23 $.21 3 2
ff'
:rs dJ"r 'i ~rww~ w
w.r~ws.
wwr~--- r

.3..._ .. ... ..... ......... 4 2


2q~c
~Q:awr Iw* ~i.~
v t2dsv
IJI~Im "rr~ AJ"r
71J"rr~
~wrm.rr
y-ow~~:awrfrrMCu
a:7_~r wrw"~Il~ras dwriurr
~~. .-~rrr
r~f aawrll~rwrwr~' - err
~~~~rmlw~
--- ~~~azsz~ ~rr~ C

4 2 4. 1 mV r1
1Q :~~"~"~ d7 . :70~ " J~Q
:7Jlilrt JJ" ~~r~~
imr~~t.r~.T"~71 "aw wrdrr~r_
t
Lf".=Sa"rr" I~ i
IS1iS~1 dLwSY~rwrer~~~~~Cr~ , ~

23 4 . . ................. ... .. . .. .. .. . .......... ... .. ... .. .. .


68 1
r 1 1
i~fii r r J a d.t d."/'~75.iuw.ra " " ~rwrs wrwr
n ~ ..A

~Q :arw~wrww~rws~la .~ r~mrwrsrwr~rw rr"J~Jr.s


r~rruwrrrra,~ m mrwr
a-7wwrw
13

r
1 Q : J~ SL~. .~

1Q :~J~~..J~~
Q-rr-a.~~~,-~ ./~r~r r n n
"= -= "~csrr.rE
~ "mot o~~r~r~.r
~OW`

~Q :as"r
J
OJ~a
I7J!~rl
AJI
~r~"r.~-- ma.r
EmorI7
r
~t-
.......... ...........
jrr
err : .,

Q:
Jam.
~1FAINININEVQ LAm ~~
ksm
.'OmommommorTf I ow-S
r.Jm m~-=a
-
L1 :JS-'0MMMMMMMr'0 J J .Am .~~t J .~ .~
,4IlAMMlK " rw ~. r- mss_
J ~.
s4
4 4 4 4 4 4
M- 1
4 4 4 4 4
0 R

7Q 1J~~ir
J : i~ ---i~JJJJJ~J~
I~iW :J~~i "

4 1 4 4
1

*) Keep fourth finger firmly on the string throughout the playing of this bracketed passage .
Similar passages marked with an asterisk will be played in the same manner,
1440
15

2 O

d L7 :7NI~ 1~ m"~m
m
W~= ow-7

- ir 3
Lob-
3 3 3 3 4 8 4 3
11.
3

t- 1~
3 1 3

f t 1

Jar" -~~---
A A A A
4 4 4 4 4 4 4 4
iift3flf10t S oL1ift lie f f f ia i"L -f f f la f f f' 1,-faf
A~ /"./t JMMM .MW
aaw~r
rISY~'J".~ r 7
~ Mm
~rm~m "I

Iddn
4 3
8 1 1 1 1 3 1 1
1 _8 1

1 1
f i i i -t t t 1 -~ f~ "' ~ -
I ~ I %r

2 2 2 2 2 1 2 2 2 1 2 4 2 1 2 2 2 2 2

t
it b 1 1
0 1 b 1

;
4 4 444~ ~ 4 4 4 1
19 3 r-19 1r i-1 r-ir8
1~A~~~~ IlJS~lJ" AS-7 l~!!Ji Ie7i~~lt -s

1 4~~ 1
444 4~iJ~J~J~.~Ji 1 4 4 4 1 4 1 4 3 4 1 4 2 1
1at111'JiiJ~J~J~ ~ ~ .J~J~JS .IJA ~J/7J! l.J'JI
~!!1""~~7t I!J!!l.It 1S7l~~7i I!J!l~Ji l~7lv~7i 1!J!l~~~~~!
17
3 3 3 3 3 3 3 3 3 6 3 2 3 3 3 1 3 6 3 2 ,3 3 :k 3 3 3
~-- ~ ~-- ~ ~ ~1

,% 4~~ .J~ immwl7~


f
' A= A rrJrrrrr ras_rr ~~~~r
I L71rA!~r~~rJ~ ~ .arrrrr~~'rr ~~~~r~Jlr .PA7
may!

2 2
.. a
1 1 1 4 2 4
,fifff it

4 2 4 1 4 4 4 ,2
2 1 1 2a2 1 a 1 1 2 5 13 2 1 1 2
d b d 2 b
a q b b
=o f

2 2 .-EA
1 2s
1b 2 e1
b
OL -,a

4 1 4
1
LA.

2~2 1
i 1 ~~ ~ ~ 1

.g.. .
8. ----------------------- . ...... .. .----------
.. . ..
.. .. ... .. ....3........ . . ................ ..... .. ...$ ;
1~~, 1 a ~ ~ 1 1 ~ ~! t ~ -1 (} }~ 1 ~ 1
i ~ 1 2
v .... .... .. . . . . .. . ... ........ 12
.0 1 2 8 .,
Iw 1 4
b b
2 1 2`3 14~4 1 1 2~2 1 31$ 1
2 2 1 b lip b
b .2

. . .. .. ... .. ... ............. . .... ... . . . . 3~~3 2


8 4~
1~ 1 S 2 q
b 1 b4 2
I the rl. 2 ,i " tbf

a ,,0
: b E0E
D
2 2 3 I 9y 2
b
~1
3 g 4 b 1 2 3~~3 18 2 3 $ 2

+qF-+-E 1 EF
s d 2-~ b 2~.- fib 2 -o d d z~~d 2 g ... .. . .. . b.. ..3.
~ 1
{- oaf i~ f nor- f f 0 rf . AD if f if
21

23
a 2 2 1 2 1 1
2 1 1 oi] ~1~flfft'f .r
1Qa"u1/~

. .~.... .. . . . ........z . . .----------- . ....... ...... . ..... 1 3 1 1 1


S 1 1 2 1
2 1
1 1
t= :pq--f-7-
b

tff i : 1.
1
t 11 '1 01 A fi .r-~?-I 7-fl~f~r- :pq-~r

r
W 2412 12422 4 1 4 P. 1 1 4 1 2
1T " .L I"./1o1 r%1
I E? :7141Ca--~~-~-
r:rr J rr Apomr ii u
n'VI~
r11ii'A sW 7aAw
r;7 .AMM~w1T aAMMS.i~

14~ A
1 2 4 2 4
2 1
A
7"

~iWT L:1 .i1T A .t IAPW M .r >.r= .T


11 m=~ M -Mr A
1 Q: a"/lilit :l lMd===m-
J L2 :71h1L:>"~7r M mz1"J1111" 1111" 111" 111 " 111"-
ISY " ~".ate
4 1
4 2 42 1 2 4 1
4
2 1
4 1 4 4 1 4 4 2

D
2 4 2 1 4 1 4
4 -7i MIT Ms I.t IJ .A .J

4 2 4 4
2 4 2 4 4 2
1QaH1
a:nalr' JFW i=rl
i~~~~l~ir
ir~r W ANI'ANI'W aM Jrr ai "i~ ~~!
AL.AM

,Q:._ doz." Idw Mr7 =7 Ar^7.ai .s LL A7 M'MI LL


IAnY
L7 :JRlt".J"~
.I:J~+

1Q : ; .~ j Al j 17
VAN" W :

:: a
I 'J7 .=
Jl41ta --- - ---ip
23

2
4 4
~~7rl7.i.11
1QaoR~~ mmm " t~ Mf:IJ r~~rr~r
1~Yy:7r
L7:A4rt :J"r Ar'w Mr.MriYm "======i
-
I Illlli~r "~" ~rrrr~r

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

iQ
I
a;.pR=
L2:11
fAIill, I1~~r- 7-
:Jr=Wrrrrrrr-
" r~~~r~rr~--
r n f- le e . it ~ lip. ja- * la '

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

7Lif
0
3
1 4

24.

dolce
25

Tempo I
dolce

4
r4 1 2
1 v"4
4 4 ,3 4

4~r
- ~Tm
W.e---
illmos-
27

~Q: aria
o am~~~

2 1 2 4

ii-
w ~-
WW7.t IpM
-~Fwasl Ra[[ :

4 1 4 2

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


8

0 0 0
1 1
J
1440
(5411~oh $ ole

In editing this volume, several indications in addition to the regularly accepted


symbols were used . In order to help the student, a short explanation follows :

OVERLAPPING BRACKETS.

To avoid unnecessary shifting this technique has been used as explained in the following examples :

Descending .

Ex,
1 4 2 1

Ex . II
.4' 1

-
4 3 2

--~ ~-
1

Ex . III Ex . IV
1 4 2 1 1 4 1
2
D A
EXAMPLE I . While playing the C with the first finger, lift the second and third fingers sufficiently to allow the fourth finger
to be placed in position to play the C# . Retain pressure on the first finger while placing the fourth finger on the string, so that
the weight of both fingers is felt on the string simultaneously . When full weight has been placed on the fourth finger, and the
note is now being bowed, secure that finger by pressing it firmly on the string, while extending the other fingers and thumb into
the lower neighboring position . In playing rapidly, the fingers and thumb may extend themselves to the lower position, at the
moment that full pressure is placed on the fourth finger,
EXAMPLE II . The Franke method .
EXAMPLE III . Place fourth finger on the D string, using the same technique .
EXAMPLE IV . Place fourth finger on the A string, using the same technique as in Example I .

Ascending .

4 1
-a- a
s 2
40- # 40.
41
41

Ex . II Ex . IV
4 1 2 4 1 2 4
D A
EXAMPLE I . While playing the C with the fourth finger, lift the second and third fingers sufficiently to allow the first finger
to be placed in position to play the B . Retain pressure on the fourth finger while placing the first on the string, so that the
weight of both is felt simultaneously on the string . When full pressure has been placed on the first finger, raise the fourth, and
while bowing the B, extend the second, fourth and thum into their place in the upper neighboring position .
EXAMPLE II . The Franke method . (Four finger system .)
EXAMPLE III . Place first finger on D string, using same technique as in Example I .
EXAMPLE IV . Place first finger on the A string, using same technique as in Example I .

DOTTED BRACKET .

r The thumb remains in place, while the hand moves into upper and lower neighboring positions .

THE FRANKE METHOD .

1 2 3 4 The four finger system in which the four fingers are used before shifting .

THE PLAYING OF FOURTHS IN THE SAME POSITION .

4 4 Keep pressure constant on the fourth finger, while bringing the third finger over to play the C .
4rl%13
By raising the left elbow slightly, the hand is so pitched that the third finger is opposite the fourth .
The same technique is used with the alternate fingering .
12 2 1 21

EXTENSION .
The extension of the fourth or first finger without shifting .

COMBINATION OF TECHNIQUES .

=P;-~ The combination of any of the above techniques .

FRED ZIMMERMANN

You might also like