Professional Documents
Culture Documents
Frederick Neumann
CONTEMPORARY
VIOLIN TECHNIQUE
Volume One
PART 1
ECS
PUBLISHING
Preface
This is the firs t in a projected se rie s of three books intended to present a method of study
covering the essential elements of contemporary violin technique. Scales and arpeggios in
single stops (Part I) are integrated in an entirely new way with a system of bowing and rhythm
patterns* (Part II). By application to the e x e rc ise s, the patterns are designed to help the student
derive greater and quicker benefit from his scale and arpeggio practice.
Since technical m astery depends more upon control of mind over muscle than upon m ere agility
of fingers, the direct way to such m astery lies through working procedures which present a
constant challenge to the student's thinking p ro cesses. For this reason new problems must
always be faced and solved. To provide such new problems in almost inexhaustible supply is
the chief purpose of these patterns.
The patterns are in two categories: Bowings (designated by B) and Rhythms (designated by R).
Each category is divided into sections, coded B1 to B16 for bowings, and R l to R16 for rhythms.
The numbers indicate the number of notes in each pattern. For example, the following bowing
pattern is regarded as a two-note pattern, being made up of two-note components
*"'# and is therefore listed under B 2. The design "T'-# "T"# is a four-note pattern and
appears under B4.
The same principle applies to the Rhythms. The following example J. J. 3 J. 3 derives from
the two-note rhythmical figure n . Accordingly it is referred to as a two-note rhythm pattern
and is listed under R2.
3 6
The figure JT3 IT j is a three-note pattern (R 3). The figure
is a twelve-note pattern (R 12).
All three-note patterns can be applied to any ex ercise employing groups of three notes or any
of their multiples. In an eight-note ex ercise , all patterns of B 1 ,B 2 ,B 4 and B 8 can be combined
with all patterns of R l, R 2, R4 and R8. In twelve-note e x e rcise s, all B and R patterns of 1, 2,
3, 4, 6 and 12 can be combined. This versatility of application perm its a single pattern to be
used for several different e x ercise s. Innumerable combinations of B and R patterns can be
utilized, as well.
The following illustrations derived from Chapter 3, Part I, will demonstrate the method of
combining the e x e rc ise s with the patterns. The applicable patterns are:
B l , B2, B 3, B4, B 6 and B 12
R l, R2, R3, R4, R6 and R12
3 ____ 3 3 3
F irs t Primary pattern: J J- ] ] J j j J J J J j J ||
Example of ex ercise :
*The guiding idea of this integration is explained in Ivan Galamians book, P rinciples o f Violin Playing
and Teaching, Prentice-H all, In c., Englewood Cliffs, New Jersey, 1962.
Application of B3, 2) i with first prim ary pattern:
3 6
Combined with B4, 3) "T"* and R12, 8) J J~3 J7 1 J JJJ5 5
At the head of each chapter in Part I B and R code numbers are listed to indicate the applicable
patterns. Prim ary patterns in which the ex e rcise should fir s t be practiced are also given.
To facilitate the use of various bowings, rhythms and their combinations, all note-heads in the
ex ercise s are printed without stem s. Bowing patterns are shown by note-heads which do not
indicate any specific time value, m eter or rhythm. Rhythm patterns are presented without any
indications for specific bowings.
Wherever two different fingerings are given (one above and one below the notes) both are to be
practiced. Other fingerings should also be devised. In some ex ercise s in Chapters 10-12 of
Part I the use of "creeping" fingering is suggested. This technique is briefly explained in
Chapter 10.
The teacher will be the best judge of which bowings, rhythms and their combinations will most
usefully serve the needs of each student. It is suggested that the patterns be utilized in a d iv er
sified fashion and that the rhythms and bowings be employed in constantly changing combinations
to stimulate continuous interest. Chapters 3, 4 and 7 of Part I contain particularly important
m aterial for such treatm ent.
We hope this approach to the problems of contemporary violin technique will provide interesting
and profitable results for both teacher and student.
GMC 2356 Hi
T ab le of Symbols
Remain in position
1
Scales in One Position
Groups of eight notes. PATTERNS: Bl, B2, B4, Bs, ( B16)
Ri, R2, R4, Rh, ( R16)
Primary Patterns:
I . - .
*
II
$
III
m +-
$ T * -+T
TV
~w ~#.
$
*
VI
$
V II
$ dtZMZ
This may be continued into h igh er positions.
E x a m p l e :
*
GMC 2356
Copyright 1966, by Galaxy Music Corporation, for all countries, Printed in U .S .A .
a division o f ECS Publishing, Boston, Massachusetts.
1
2
Scales on One String
Groups of twelve n o tes. PATTERNS: Bl, B2, B3, B4, B6, B12
Rl, R2, R3, R4, R6, R12
Prim ary Patterns:
i ; t j r n r h r n i? j m r m f m it j m n / m n
ONE-FINGER SCALES
1 1
A G . __________ ^ * -
i t - + 2 3 3 3
z 2 * ? T
1 1
i i 1
TW O -FIN G ER SCALES
2 GMC 2356
THREE-FINGER SCALES
GMC 2356 3
F O U R - F I N G E R S C A L E S
G
i 4 ..........................................
JT A ^ ^ M A .......- .... - .................................................................
J r < t m w ( o 9 # m i ...................................
\a 9 m m
I JIM
A S tt 4 m ...........m 9
i 9 9 m 4
4 GMC 2356
3
T h ree-O ctav e Scales
Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, Bl2
Rl, R2, R3, R4, R6, Rl2
Prim ary Patterns:
i rn m r h r fc nt m iis m rn m m
In addition to these patterns, practice all three-octave sca les with the A c c e le r a tio n E x e r c is e
as shown in the following example. In playing it make sure that the value of the quarter note
rem ains the same throughout. Choose a slow tempo at fir s t (J = 50-60), then gradually in crease
it. The ex ercise may also be practiced in rev erse as a R etard ation E x e r c is e by starting at the
end with the thirty-second notes and finishing with the eighth notes.
4 4
4 4
-0--M
r
i '?
i t
* -0-
2356 5
* 1 * =
*- -V
<1 1
*
, * *
4 i4 E
= #4 4
(3 ) (1)
1
-4-------------- 1-
m 0-
4 4
2
#
$
2^=
s
iCC.
- w ~+ I3 ------ 4-
_4
# '
E
4
*-
t;
XJL
K#
A
33E
2356
6
4 4 E
tl *? _*. _ 4
$ $ H * ------- ^ k ^ - > t ft Jlk
" --- * *-xw --- - --- 4---- 4----------------------------- :=g-. q
Of 1 ..f4 ................... .... - - ...- : ::::------------------------------------- ----------------*T * ^ _______________ 1
(1 ] #=
~w
E
4
-V -4h
(3) (D m *
1 ^ A _ = = = =
....j *W iIVr/ , m A .....*..... .... 9 i1 4i
r#k 4 ~ m 1
-J^ i._____ ;___M----------------------*----m----* ----^----------------------
2
I A
i l i i 2=^=
2356
7
(4 )
b
' i
= i ^
- 4 --------- _
y
(3) (1)
1
#-
, 4
^ M. + i
T = = = = ^ ^ # .
(3)
(1!
1
= *= *= -4-------------- Jb
p ta -4-
tti
. fr1
5 2356
* #4
(4 ) (1)
1
.
0 u 1
J f | f t i ---------------------------------------------------------------------------------------------------------------------------------------------1 ----------------m ---------- ------------
------------ 1------------------------- ------------------------------------------------------------- =--------------------------- 1 -----------------------------------------------------
fin P - f r ..... i ............................... ~ .......................................... ' 0 ................................................................
4 4
0
-4------ 4-
1 3
-4-----4- *
a s s ii
$ # 3C=S=
2356
5
(4 )
1
Jk i
tt
jk - Ik
1 4
4 4
.
! 8 ------------------
. . - - = = = :
---------------------------- ' .. # .....# ..... ---- 1
X---------- ;............ ............i----------1----------- =
,
* . .... ................................ = 1
I 3
4 4
=*=#=
i0 2356
$
1 3
A -m- (3 2)
A
3
*
-4------ 4- HE
Al L ^ ^ = M. ^
r------------
- * #*------- ----------------------------------------------- n
---- 0--- m---------------------------------------------
..... ............... .... ......
~ -*----W-.....p".... 1 w ..p.
' ' ......m..... ....
3 __ <* 2)
# ~
fcA
4 4 3
J0L
E&J
a -4------4-
2356 11
D I* It 5
j p .... ;..... ~...... ......... . ...- ------------------------------ 1---------------!----------------------
(fo. _...# ........m... ...................* ..... .... 1........................
2
G
. ? t it i ^
ft 4- a- -- =
... * *
(4) 1
D (4) 1 fe
~4 -4--------- 1-
# a a>_
$
(4 ,N
^ 4+3
n = it ^ (; 2)
4........-4...- ........ -4- # *
i
4 4
A o
#
s
D
b t] 4*~ -4--------------1---------------4-
s 9 0 ......-m + 90
2
D
4 , 3
b\>A k b l +
-4 ------ 9- *~ " r .
4 B -*-...-9-
(4 ) 1
12 2356
2356 13
4
Scales of V aried L en g th
and D ifferent Groups of Notes
P r a c t ic e th ese s c a le s in a ll the m a jo r and m in or k e y s .
j j j j j in n w f T w n w n w n w 1
* W henever the two highest notes o f these scales fo rm a half-step, they will best be played by the sam e fin g e r.
E x a m p le :
8 ---------------------- l
3 3
Ui T* ; TM t ML ,
14 2356
Groups of seven notes. PATTERNS: Bl, B7
Rl, R7
m
Prim ary Patterns:
i rm ii m rm i
0.....#
m ==*=
"I 4
m T
-t--------1- -4--------1-------- 1-
3 3
2 a- I -I- -3 m-
GMC 2356 i5
Groups of nine notes. PATTERNS: Bl, B3, B9
Rl, R}, R9
Primary Patterns:
I ~ j JT i m n .- h .- h s h is h r n r n i.~ h ih n
16 GMQ 2356
F o u r-O cta v e Scales
Groups of eight notes. PATTERNS: Bl, B2, B4, BH
Rl, R2, R4, RH
Primary Patterns:
CSSSSSrnSSSSSS 9 EE&5E5!^^BE55E353 9 (S35SSSfM
M^^3S3S3* SSS^SSST"1
0 J-----
0 0' , 0^ 0' II7
II4 / 7 7 T JT T 3 : J T T ! J T 7 3 : J J J J J 7 T 3 : # u j 3 #f##5 : r m ,
JL 'A* ! 1 _ jl ZZ i M_
-i~ - 4t-
p i
2 3
a
#-
3 2356
IS
- - - - -J
(3 2) 3
j * ^ I
------- ------------------------------------ --
.............
* n 3
. i ,
*
==B
(4 2)
(3 1 3> 8 ---------------------------
; , ; . 5 .
if = - ,
- - w ....
.......* .... $ * * *
......... x ............. ............
------------------------- ----------------------------- 1-------- - ^ ............. 1 ---------------------------- t -------------------------------------------4 ---------- 3 -----------------------3---------
$ _______________________ * * *
1
_4L
O|
3
I
i
i
}j~
~ 7 ~ - .
TO p b ---------------------------------- .. '........ *. * - - ^ -
GMC 2356 19
6
A rpeggios in One Position
Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, B12
Rl, R2, Rl, R4, R6, R12
Prim ary Patterns:
i i f z jT j jT J 1 7 } Ilf USgTTfiJTJTg I
20 GMC 2356
2356
21
22 2356
.............. t L 4 ~ -+ 4 i
Ife;
GMC 2356
25
2356
24
4
_A_
UL is l
$ r r , ;i
p t m
ife
k>+- bi.
^" j b<
t S
GMC 2356
25
Mm
4
,4 ^ A.
4^- tr t -
i
L 2 2
t#- -*-m
^ ^
(4) .JL- ilL Ig=
&
#
2356
26
Groups of sixteen notes. PATTERNS: Bl, B2, B4, BH, B16
Rl, R2, R4, Rti, R16
Prim ary Pattern:
i 1
$ *
EE
s -8 ft-
2356
27
--------------------------------------------- ------------------ ------------T q
. $ $ $ ------------------- :--------------^ . r z -------------------------- :________________U---------M ---- w ---- ---- >-----------------------------
r - - ^ p _ ^ T -------------------------- *
-#-
M l i . j i i " . . ------------------------------ ^
^ 1 - = !
p
* T 1
1r * #
r ~ -
1
i
1 1 ? ? - T * 1
1
0 .................. . ---------------------------------,
M & h ----------------------- . > * ...................... # # ---------------------------------------------------- m m ------------------
------------- a------------- ^ 4 * ------------------ -- -------------------------------------------------- ."
2 ---------- w ----------- ------------------------------- * m ------
^ T * *
JT ^ ^
i
i
1 1 ^ 4 2 0
<2, < 4 ) ( 2 , #
-------------------------- j # # * ----------------------------------------- * * ^
a (2 ) ( 4 , ( 2 )
------------------- -- i 1 i = ........
W ^ T ^ r - 1 ' r f - M V ^
i ..;.-?-------
2 4
^
2356
28
$
(2) (4) (2 )
4 1
4 -m 4 3 G
(2)(4) (2) ^ JL j*L
__ A
X l /i
-^>1.
---- .1 m * 1 3 18------- 3 1 ? # 1 4
... 1 .
h MA
-f .
3 ^ I *
1 . * ------------------------------------- W
* ^
* , ....... ................... ......... ....... ...............
1
G
2356 25
7
T h re e-O cta v e A rpeggios
Groups of nine notes. PATTERNS: Bl, B3, B9
Rl, R3, R9
Prim ary Patterns:
i m m m us t b m i b \ m r h t h
. , .................... #
9 ~ - ---------------------------------------------------------- b . ? ~ ~ n --------------------------------------------- ,
/ t ..................... . m v .................. 1 ...................................... n ... 0 ....................................................... .................... m # 1 1 .................................................
f(T % o | 0 .............................. ...... - ............................................. -....................... 2 m 0 a
< w .................. ...........
( 7 0 .................... _ ............................................. n m
t ? 7 0 0 -0 - #
' W 1 1
JL 1
----A.*- m 3(1
)
# i ------------- #-- I. I
--------- Jrlr
30
2356
i l l j WL
i l
------- ------- - .K _ 2
= = 4
^ l l ^ f c ------------------------------------------------- 1? # ------------------- !----------------------------------- ......................................... ......a r ........- .......... ................ .... ... -
1
am
4
e
I& -e-
A 3 U1
2 *
-0 -
-4-
M
J J E
|2
........................... 1
4
a)
h > I j k ]l 2 A _
~ ~ - + . L 2
..................................................1.......# ^ - - ......-
IT
= * * 3 = ^ * 3
------------
.M L ~ ~ t . . ...... I ------------------ 3-4 ^P-------------------
? f - - Z ? ------------------------------------ q * #.m
E
A I
1 * >
JE_ _
- 4
_ = = b^ 2 u i > -
4 0 A W 1/^
m \ i bp 1
7 p H m m i 4 o 4 _ bp l 3
- & & - ----------------------------------- #-?T 4
------------------------- ----------------- --------------------------------------------------------------P -------------------------
V----------1 7----- 9 ....... ...1.........- ....... .......... t...... : .:z:.:z................... j t .l" :.:..1-.L--r N ---------*-------------------------
s 7P
2 2
^ i i 3 b-p- bp D
~ ^ --
d
1 L
u ^ ; ....^ = = =
4 ........ 9 + - = - - -2 -
P kf ~ ~
-i S-
i~
E E
4I 2
\>JL 3 3
3
_ 4 ------- 2--- P
bp -3- p 1
nr-
o
.b * . i
- T fe------ ---------------P^ i-------- . ##i--------
_------------ , f i------- ................................................
32 2356
E
3 = # 2
1
(3 2)
i- i
-4----- 2 -
=!fe i t ?
pi * = '
*
1 -+ -
* * * 3 -*- M . + 3
_#_ z = z z = Z Z i .
- = = - * - 5.
--------------- ^ = i i ______ ................. ....4'..' # j e z z A z ..Z.......
it
v 1i
t o -------------------------- 1 ^ 0 *-f c' - - - - - .. - .... ........ ............ -w r
i ... 0 * V ....- j T - .... *...... * * ..... = : .:....:---------------------------- --------------------------------------------------- m I
Z Z _ JL 2
---- -------------------------# --------------------------
U f a , 4
4------------------- -------------------------------- j A - Z . - . i
H------ 1-----a... m ' -----------:-------------------------
$ : ; .
2 ? ' ............
4
-------------------, 3
* V :
0 ^ = - *- ----4 # .......................................
. . .. ....... #
W- J
A a ......................'
A
- J ? ---------------------3----------- 0 ..... # -------------------
i > .............. ........ - .......- .......~ "...................................................... ............
2
2356 33
i 8 - -
1 h -i-
D-
= i= 4 -L
g, * flf
* 1 -1
ljP -4-----3-
i L- T -..... -
D
- T
.... r...... m m , m 1 \> --------------------------i , i - " 3...." ....... .a^....... .... i t 4___
4 _ a M _jk q
L
................................................ 4 " 4 I--------- * 1-------------------------- i----- -------- ...............-................... ........... ....... m 1 -
J ! 2 -------------------------------- x- % m ------------ ----------------------------------- ----------------------------------; ----------------------#
2 1
i D - A j E
# A ' D ----------
4 L2 2 U2
1 5 # i ^ - g # ..= ^ - . - i r i 1 __________ ,
S A k k t . ^ ---------- ----------- d h i # l 4 2 l 8 2------ ...4
w ) 2 b--------------------------------------------------------- 1> .....1
E 1
2 D A
A 8 " e
i 8 - - -
? & * ^
2 1 I
34
2356
'1 3
(4) *- 1
# ~ # r---
_....................... # ^ ^---
> L'P. It----------- ht- i-------- --------- --------4------------#ti- -------
----------- -------------------- ^ _ . - i --------- #---------------- 1*
:y 7 T ... :- @ . - y - - ............ - -
9------------ :--------------------
3 8- - - - - - - t 3
* , * _ * M. M
1------
. r ~ t ^
1
o f o 9 v \> ---------------------------------- -------------------------------------------------- 0
1
L - i - * ---------------------------< * ------------------------------------------------ 1
n 2
( 2)
yz i At
#. =*=4= 'S k i
~wr
o
1
1 3 "I 2
L- A D
I 2 4
~ar
o
(4) (4)
2
"P"
0
8 ---------
- - - - -j 3 ..............................i 3
# m
rt# ^ m 1**- m p- 1 p
{ / S i i ----------------------- * j ------------- * i n ------------------ 0 i i A A m
rm n
VSj
v* m .
1 ~0 m . . 0....
T l
2356 35
(4) 8 - - 3
M . JtL M . 8j ' 3' "
2 *- 1
-0 - ----
, ______________________> ^ - 1 ^ ^ f ^ ---------
*--------------------------- # 5------------------i ---------- - ...... t 2+ _ I "*1 T T z
4 0 n 17 p .......... m
1
J .......... ..... ------------ ------------------------ *
1
1 H 1
-
-I 2
. m. -*-b# ~~
i
D
E <> 8 - -
1 1 , r3
: i i b -*- :b # - L ~ ^ L
b# ~ . b # .. ~~b# ~ ~ ~ ~ .b < (2) *
-1--- 3- =
-0----*2-4 --- 4....2.a l...-8-
i ? p lb<
1 l
D
D
' 3 A 1 3
+ L 2
4*- * -2-----
-fcJL 4----- 4- y I ~ -4------ 3-
i & * :: =
-T 2 I A
1 1?JL 2 D G (4 )
L 2 I2 * _______ t - # ,2 2
P| b * f 1 4 2 1 3 -4------2----- 4------1----- 9 9 * --- 3- z wz
1- # -
i I
-# -----4-
1 A E 1
D
1 3 n 3
(4)
2
1 3 (4)
2
4 b b 1
-+ t-
l
(2 )
~ m +
1
D
1 3
i
JU * ... 4 ...........#
~ # # , -q
H H
%H
fcLZ----- 1, *. .... 4----------------
* r :
--------- ................. .......
f= w = z
-
-------------------- 1---------:--------- ^ ---------p* e ------ 1
D
36 2356
,3
L -11 ZZL1
4^ M.
fa* zr^========rq:
$BE
D
1 1 1
1 3
m - j '
A
-, A
H 3
pi
~ l i-U 4 D
i i
jg _ z : ~~ # 3
-4 -
1 3
( 2) ( 2)
1 3 '1 3
1
~ #
2356 37
1 , 8 - - -
1 .. 2
A ^ ^ - , i f , . A = i ^ n
-X -\ l------ :------- m i-------- 1---.^------- ?:--------------*----------------- 9 ---------- A iin J-------- 2 i ...*" 1 4 I. ._
-------------------------- i _ * ------ 1 T< ft
g r ; .. ----------:<3 ~ ..ir
D
8 --------- --
3 1 3
V 1 1 2 2 JL JtL
M * h & ~ A # 7 * f r
G
1 L ' *
#
1
4
- - ^ 4 ^ -
1
= ^
4 .
= * v
4.......
.
*[; ::
,
---------------------------------------- 14 _
- 4 - 1 7 ---------- ---------------
D
8 - ------------
(2 8 ------------
? \
G .
------------------ 4---------------- % 9 - r ------- J 2 1 4y - 2 - 2... -
I t f a t ,1 I* ------------------------------------ 2 Hm 1 fly 4 = (3) --------------
D A E
8 -----------
4) 1
3 "* 3 (3 3 3
- 4 -
:* 9 7z M-
. - * #------------.
J ^ A i 7 " 7 ^ T ? n . = t J . * 1 , . ^ - ^ = i = --- i-------------- 4-------------:----- -------
------ :------------------------ m ----------- % f --------------------------------------- 2 *
y 7
V A D *
1,-1 A
' 2
D
A D
1
D
Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, B12
Rl, R2, R3, R4, R6, R12
Prim ary Patterns:
i n n m n T}iij r h r h r h j t j i i
P r a c t ic e this a ls o with the s lu r exten ding o v e r two m e a s u r e s .
A
i \>J = E to b ,
$ E to w
2356 39
^ ------------------------------------i * ' ----------:------- 1----- \ - = .. 7 * .-, |
:------------ ------- - ............................- - .. , - =
T ^ r w . ' = ~w
* ,
J8L
M. ^ 4
a i * * * - - -2- ............... m
T t r r * = --------- 1 . ? - -------------------- J &...................
m ....... . _
y - ^ - : = 1 * T
i
1 ,,
~ ~ ~ ~~ * b _--------------------------------------.
JPuK- i?--------------------- r -------------------- 1---------- ----------------------- B------------------ * a ---------r 3-------------------
---- ----------------------- ----------------2---- --------------
b|? Z ..~ ^ T . P = = ^ ^ 1
i . = =
Jr-tJ v b ... ......- - - b# tl# ..... 2 4 1" ......... ........ .......... < i T i l l i -------------------- t M l -
---------------------------- J - 1< 1 1,0 i
1 E................... ... ...... . ...... W
* - A <!>
j . * =
f ........................................... ......# ----- 1------------------------ = .....
= .............
- * ...... _ .__a . ___
: ................
-----m__
= # t ------- 1 2------e ----------- a ------------------------------- -------------------------------------i----- 3----------- 0 ---- ------------------
------------ ------- ------ 0 ------------------------
.....................................................' .." # ' #...V
^ T A
JL
Z Z Z Z ~ *L A . -0 . 4
# ....................... ...... T~ * ----- i----------- .1...(2) ... ---- 4 0 }---- 1----- 2----------- * . ------------------
= & T.......... - .... ur- * * v ............. __.... 0 ...... -.... 9 # .................. ...........
----------------- - 0 -----e------- ------------------- - ---------------------- -------------:------------------------------------------ <..... .... ...^ - J
^ -w
i
^ h. o ... L . __ _.
^ ................... --------------- a ------------------- 2----- 3----- ----------------- 2---------------- y------- m---- 9 e ------------- zzz
-------------------------------------------------------- 9 - f 0 ----
# = A ------------ # a 1
* , = 3
------------------------- # iL---- 1-3-------------------------
= * * F------------------------5----- 0 kw .. ' U ... -7---- 3----- 1----- 3----- 3 ... -i 8- -a- i -8 , p0 \ r ............
n 1/
T * T ^ > e
A A
A Z =
_ ^ J r = ------------ ------------ 1 y - ... ....* ----------- 1----- 8 8------- 1-------:-------- 2 # * ^ A-----
<5 >T * ? ............... -: - ^ --------------------------------- * ---- a------------------
1 - - -------------------------------------------------------- 9---- * ^ '
40 2356
A
_ --- --- JSL *4
I * = = f ---- 4----------------- 3------------- -------ft----- .2 ---- ------------------------
r ....... ............ ....
ft *T 1
2
^ b f t. 3
= = = * . b f t _ ^ _ _ J ........
---- 4----------------- 1---- 4---------------- #_ _ _ T_ _ ---------
WA r !-----
1- 1,----------
__________ . r - i------------
--#* ' ^ = {
7-----------------------------
= 7 -------- ---------------------------------------------------- jz - jim
............... _ 1
2
4 1
Z j f t t J * --------------------------- 1-------------1-------I----- 1--------- 4 - ------------------ 1 i ---------- f r y - f r * i 3--------------------
--------------------------------------- 2------ u . ,........................- : :
; , ^ != --------------------- ^ E H *_ b ^ ~
2
1 -0
^ .% -j----- ----------- :-------------------1------ m----- * -----* --------------i ------ 2------ g_-------i4-----------
= = * - i , _____________ __
---------------- 9--------------9......m-------------- ----
= P \ ________ # ft- --------------------------------------------------------------------------------------------------------- = * - . , i .......-
E
T
i.
- *
= - i
ii l jl :? : =
-r -E = ~ .S L * ^
f e n : ...... ' .......-? -------------------- i ------- 4------ 3--------------3------------------- ----- ----- -------------------------------
= P \ - .................. ......... 7 ~............................ ..
. ________ i. *
....... V # ............. ........................................................................... -m-
2
i t e = ^ JL I
, r ~ - ... i . . . -------------------------- ,
= p \t-V . ~
L 1 * <--------------. I f * ----------------------------------:-------------- ----------- _ .... .......................... ~ -q -
~w 9 -* * P
2
2 ,,1
= * * 4 ^ , ,
. t * i - i l e - E
= # % * !h i ------------------------- - la * ' f f y 4 -------------1 a 3 . # t " 4 ,
::= tf =
i r .......... * ------------------------ 1 -------------------- g : = ^ r v
2
8 ----------- - - - - . . - - j
1 -#- -ft- 2
---------- * ----- 2 ------------ I = _ J | ----- 1 ---------- ----------- _ _ _ _ _ ----------
------- ------- ------* ----- #------------------ * -----# ----- m------ -----------------------
_ i * T ' ~ ~ f * 1
----------------------------- 3----------------------------- -2------------- #-.....~..................
................ # #
2356
41
~1
3 bi 2
f - 2--------
#
D 1 3
b . K 7 bH l i d d > HA :
1 M m 1 3' 1 2
i b $ * fr fo
f ife
E ^
1 1 -- -O -o 3 -0- m 2
= j h k 4 --------- :--------------- . * * -------------- t I i------ 0------------- * i--------------------- * w -------------- r
< fo b b b r .... , * 1--------------------- 1-------- 1 *
2
Q_ _ _ _ _
O _ ______
-* 0 0
J lU , * : * * t ^ 4 3 0 : --------------- # ?
i, , , . -------------
5O - -_ - _ - _ - _ _- i
i b^ -i- ^ -*- b * - _ 3 -*- b * - _ 2
A 1. I - ^ ~ ----- =----- T .. T - ------------------ ---- # -------------------- ---- ----- ------------------------ ,
P~
2
*1 1
1 2
_JL_ ZM1
-2 8- 4 3-
* I ~ ===*=
. It* -#----
j 2-
^ . I 'T ^ -4 - Hh =*=
42 2356
2 _
V - 4 j m #
1 - ' --------------
-*- 3 -*- 1
* .....
------i ------3-------------- ------- 4--------------------- ----- # ----- _ --------------------
^ ...:.... - . * - ?
=gp7 ..0 # ......* . , . * --------------- 1------------------------------ 1---------------------- ---------------L -----------------------------# * ,
2
8 -----------------------
~i 1 -i 3
...
- 0 - 4 , ......................... i
- ....... ^ - . * - * > l i - ~ > 4
4----- 8------2-------1----- 4----- 2------------------ *
a
m I.
...,
0 ,-------
A b 1, i h 1 ......3' 4 * t - t 3
.. ( g ) 17 m t> Hw--------------------------------------------------------------------- ------------------------------------------------------ f r * \>m d p f r i - j b
R
(3) E
4
D 3 _
np~
2
m m
8 - ...............................
i * , i *
= - jt V h i = - j-^ h i o
J M t , . , i . T _ * i r t 4 i f * r 4 = ! -^ - a * 2 ^7 4 % ^ T- . L................ - \ % L
...J * 1 * ------------------------- :-------------------------- 2--------- :-----------------
^ ........ ~ ....
2356
45
G
2
JL
D ^ b*-
=fr^E3g $
i 2
G
i W- - Q
D JL ^ =
~4----92----- 1......-4-
2
G
1 E
4
D 1 _# #_
_^_
# = -4--------2 -
It=4=
F
11__UE
+
2
G
(2)
D & i
=|P= 4 ---- 2-----3- -2 1-
3 SE
==
2
G
D t\-+- fr*- ^ tK ft : - f a b
1-------3------4------ s------ 1------ 2------3----------A------ 3 ......2------ 1
3 E
2 E
G
3
D
4- 4 e~
EC
2
G
2356
44
8
F o u r-O cta v e A rpeggios
Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, B12
R l R2, R3, R4, R6, R12
Prim ary Patterns:
i r i i r h r i i m n m u m i m n
2356 45
46 GMC 2356
4------ -t-
< i)
4
4 --- ~
m ~W~
1
JP!}Z
2356 47
l(2) i l i f e L Q)
-it------ 2 B - -3B2---12-
4
= 3 - i* = 3 - ^
2 12 3 1 ~4" 3 2 14- il S
4S GMC 2356
2 1 4
JtL ^ 2 JL
E
3
..
1 * !Lzi -1------ 12-
=3C=?= 0 * #
fr-
L i
1 3 1.... ........ 3 4 -31-
ib * - fc *. i 2 E 3
(2) 1 1 2
Pta 1 . #
* 1 -1---- 64----------3-
e
-6-4- -4----
~9TjjjT
GMC 2356 45
9
A rpeggios on One String
TRIADS
Groups of twelve notes. PATTERNS: Bl, Bl, Bl, B4, B6, B12
Kl, R2, R3, R4, R6, R12
Prim ary Patterns:
i (p r h r h r h it f f n j w s m m r n m n t t t;n
W ritten f o r the G -strin g , the e x e r c i s e s in this s ec tio n a r e to h e p r a c tic e d on a ll fo u r strings.
--------------------------------------- i--------------K---------------------------------------------
^ - ........ i - 4 ------------------------------------f i------ # ------4------0 ----- ------- 4----------------------
-----------------------
---- . --- - . . 1------
----- 0
-------- d------3----------------------- ------- # -------------- 8-------
.......... ........ ........... ^ "' '
f ........... -...... * ........1 * 2 T . . . z g =
________ i_______m.
3 4-
4 4 ........4" 1 # - -m 4-
~9~
- Vw 3
-L .-. ft#
& 4 # m
*-----~..... _ 1
1
(2 ^
* 4 7 - g i
(2 3)
# ...
b* $triE
# ="*
_4---- #---- *
7# i # 4
, ....y y - frf- *-
m
#....'-2
1
50 GMC 2356
GMC 2356 51
2 ^ 2 3
a .1 # i. # 1 I ji #
- J * ------------------------ 3-------------- P * ----- 4------- ----- # ----- 3------------------------ ----------------------- ------------------------------- 4 ----- ----- # ----- g----------------------
... 4 , ------ 2------3 _ ---------------- -------- * ----- ----------------
~ r fo ............. ttl * " 2 ' ~ 8 ........ :...............: ... - ................ 4 .........
Jj __ # r 1 ...................................................................* ' ' __ 1 !..... .................... ................. a> '
* i 3
2
JjiJs
$
i=
4
1 [
(2 43) <! J*
4 =fe t ^
$ $ ~ *T IP
52 GMC 2356
DIMINISHED SEVENTHS
Groups of eight notes. PATTERNS: Bl, B2, B4, BH, ( B u )
Rl, R2, R4, RH, (R16)
Primary Patterns:
i r m m ) \ \ fip .J W J T fifT H X
4
--- m--- H ---- 1 2--- m 3---
- J - , 4 j W -k ^ --- 3-------------------
---------- 3 ------------* -
I
-----0 a .
---------------- ... ~ 1 i ~1~ i 5-2---- ---------
2 fc k * T
- 6 ~ . _________
J L ...... 3---------- ,8 ---- ----------- 1.... i& b 4U ^o n J i t * b. . ,3-------------------
J s L __ ________ 2 -*-.. ---------i
J 1 5 W T W 4 *----i---- ~------------- : ' ..
1
2 2
3
m
-----g___= ^* -----......
-
jU J -----1------s------------
............ a * i_ il
it'1 b# # ^ - - 2-....... h ------------- ^ = 5
o ........
M r
J j j j j / T T j wf m m n m u w i
1
GMC 2356
53
3
..In *
Jn >f ; .i '2 l i .1 = p jB m
i 4 \>0- ^ $0-
M: I?*-*
f
(o)
3 3
-M-
GMC 2356
54
Broken T hirds
Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, B12
Rl, R2, R3, R4, R6, Rl2
P r a c tic e in a ll the k e y s ,
IN ONE POSITION
P r a c tic e both fin g erin g s to c o v e r a ll the p o s itio n s ,
I
* w"m+
ii . . a
$
III
.....
VI
l
VII
ON ONE STRIN G
P r a c t ic e in a ll the k e y s . Eight different fingerings are given. They may all be applied to any
string.
EN TIRE SCALES
P r a c tic e in a ll the k ey s .
-4 1- -4 1-
W
w
1
56 GMC 2356
Broken Fourths, F ifth s and Sixths
FOURTHS IN ONE POSITION
Groups of twelve notes. PATTERNS: Bl, B2, B}, B4, Be, B12
Rl, R2, R l R4, R6, Rl2
Prim ary Patterns:
f jr ^ jw jw in j j~j j t j jt j rn
A lso slu r two m e a s u re s .
P r a c t ic e in a ll thS k e y s . Practice each ex ercise first with the upper, then with the lower
fingering.
FOURTHS ON ONE STRING
im im m n rn rhrhrn i
P r a c t ic e in a ll the k ey s . All six of the succeeding fingerings may be applied to any string. The
"creep ing"* or "c a te rp illa r" style of execution is applicable to fingerings 1), 2) and 3).
Fingering 4) uses extensions throughout in the manner of fingered octaves.
3
jslL -0-2-
0-3-
-0-3-
* T,C reeping" fingering as shown in example a) should be pi ay ed as illustrated in example b) While the
fourth finger plays the a', the first finger co n tracts to f '. It then acts as a pivot for the shift of the hand
and arm toward the next position. Example c) shows the use of an extension: the third finger stretch es
up to e " while the first finger rem ains on b . The third finger then acts as a pivot for the shift of the first
finger and the hand to the second position.
The sam e principle applies in descending fingerings as shown in examples d) and e), the form er with con
tractions, the la tte r with extensions.
GMC 2356
58
FIFTHS ON ONE STRING
n /rajram i
Prim ary Patterns:
i rrn rrn
GMC 2356
59
SIXTHS ON ONE STRING
irm rm
Prim ary Patterns:
11
3) "creeping" fingering.
GMC 2356
60
12
T he C h ro m atic Scale
* hi j r r n i n T n iii
Also s lu r two m e a s u re s .
IN ONE POSITION
*
1 ~2
iw # ; n* 1 1
ri 2 l
-i 7 4 3 , 2
-I".
^ # |?*I
i l: o i 4 -t t-
1 2 i f * b"*-
3 2 1 2 T
-p -
rwr^r
0 W '
1
P r a c t ic e a ls o cm the D and A s tr in g s . All four fingerings may be applied to any string. Other
fingerings may be devised.
2 ji 3
-O -
a#
..T U p , Q.
1 1 & 1 * * ii
t ? * r > *>
3 , 3 2 ,
2
a . ba i 3 , 2 i . 4 3 2 i : k+ : it - \>j l X - i L i i L4 3 , 2 t
o:
\ jt j r h r n f n o jw h t h w u 1
Also slu r two m ea su res.
P lay on a ll fo u r strin g s.
G
..V*
* * m--- _ I 4 ~~ 3~
*"3 1 : 7 4 * b \>m
l . H It - T * *
M ............ : ........> * q * q * ^ * 1 =
> q r ^ f f * 2
3 9 X 3
ACROSS TH E STRINGS
Patterns as above.
D 1 ,3 2
-e 3-
-4 - 3- tr-1. 3 4 9- 1>* b#
A 4 1 4 i3 ,2
1---,---- *----- m--- *
^i4 -W ^ -3 a-
9 . # _I4 =
$ 2----0------ g-- * ---- --CHF"
.
4 T
D D
-4---- 1- -4---- 1- 4 ------ 4- -4--- +-
5?=
*
GMC 2356 63
0
tt it $* mr
i X
0
If#'
3
I. * . li H 4 . j>
^-jrT^Tyrzzig
- - - 1
,
^!>
? imz
* #* #* f a
A D
D l 1 3
IMZ
i |* fe D
it#- jU _ 4 d
G D n , i i i ^
J? |2 ~ m * ---- 4 1 ....." - z .A......4 ___________ U .i k [/ y^ : ...LV%.
TO --^-^------- ------------------------------------ ---------------------------------------------------------- 4--- tx>
G D A D G
TH R EE-O C TA V E SCALE
im jtj m isnmnbiihmiT.
Prim ary Patterns:
E
l
m
$ * i5 -* 1
D
b* \>i 2
-U -
^ [?
54 GMC 2356
A
ElEEE-E
8------ 4-
i ft* fl? ft
A
n 3
^ Ix- h. t?
b< S=4
D
G
2 8
E
M- *4 =
% - # ^
$ t!
D
A
ftf: # 3 b* bJ 4
JXL
E
4 1
D A 0- -*- $k
-t-
k .. -4- j* il
-4 t-
E
D
A
i3
4
\>A
1 A
^ b*. Vm- hm 3
=k::::,.h
1= i
# t
2 A
JT H S 5 l> bi 4
-8 i 3=
3E
D
GMC 2356
55
A F ew N o n -T rad itio n al Scales and A rpeggios
The sca les and arpeggios in this section are intended as introductory study m aterial for
contemporary music. Each ex ercise is built from a basic interval or se rie s of intervals
indicated by the lower bracket and regularly repeated at a definite interval-distance shown by
the upper bracket. The resulting non-traditional sequences provide a technical basis for an
approach to present-day music.
SCALES
Groups of nine notes. PATTERNS: Bl, B3, B<)
Rl, R3, R9
Primary Patterns.
jT j j t j m i n
#- S'#
~! j i i| iw
t
A ? ^ ,. j.
^ . # # * = ^= -------- 4 v 3 1 =3=
-fZ m
:\rr
-3---------- 1---- ^
\rr +
*
CD ^ ? tt? i
b# \{
r > :
I 4
2
#
^ 3 if
# 0 f|)
* * $- M
- , : -
- - - - - - - - - - - - -,
GMC 2 3 5 6 67
E
& t>. ti t i *
$
'1 - 3
ft*-#* jj> _ a b#
* 1
h lh '/ *
(3 - 4 - ^ l! I k f e
A* tt# *
j _
. # 3 n ^
~
^
........ r
b ^
*^ - . . .
____________ ^ -------------------------------------------------------------------------w
.................................._ r
+ - 1 - - - - ......- j . 1 4 ----------------------------------------------------------------------------------------------------------
IT = ^
IT ^
ff# # * l ^ - b . -------------------------------- N
.............. * B -
.11 L(2)L
W
t
^ b*- Lm ^3 # #
8 f f -
u4 2
* 2-
b + r ^ -
l \ . j|^ ^ g = 1 . 1 > ; I ^
E
hi 1
bv 1 * , * .
3
* * t # tt? ii * 4 ' A* ff ^
t Thn* w
# -r k b?
r ;o ^
$ D
^
6S GMC 2356
Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, B12
Rl, R2, R3, R4, R6, R12
Primary Patterns:
i f n r n f i i j j j i? j m j m m j i s m m im n
Also s lu r two m e a s u re s,
4 4
I . 1.1 . f# =
ft b*
i , . b.
3
-m -
ft # bi
=*=<
ARPEGGIOS
Groups of twelve notes. PATTERNS: Bl, B2, B3, B4, B6, B12
Rl, R2, R3, R4, R6, R l2
Primary Patterns:
t i m m m } m r h r h r h s f j m m m im r,
A lso slu r two m e a s u re s .
GMC 2356
70
i* * - ^ it . > - -fe
- o. 3 F
,= 4
E 8
A 1 L 3
A
^ = * 4J = ^ b *
, (2) ii^ 3
j -
(2) A 3
:.y '
"F ^ "
A
,( 2 ) i \>J *4
"? '
*
GMC 2356
71
-
3 31 $ -#-
:g JfiB-
"W (3
J_ k i
3
i~ e :
i tK
-(3-
h r fit i ^ ^ t . >
* W **
A
hi l*i $ -# - a 3 \?j
J - J
= i= f
72 GMC 2356
jl ____ =------- * aF_ _=_
8 -------- - -3 n
zJLp______ V ----- (4---------^tt------t- J e . -
. ....--- ----- [--i-- #->-- i .. i_ i 2---------
:-----------
....... .......
p----------
--------1:....- -g*Lzta> i.:------
^ .. * b*l?# = ------------
8 --------
ji3 ^
- ^ i - ^ b l,
= 4 = ----------, | ,.^ ^ ' . & * * ,------------------------
h-. ~~........ '>* ,t|2
...... 79* * L -----
=^f l"
^ L"Wlir^ ------------------------------- ----------------- :
,
------------------------ -0- ^ -------- --
y - .i-/* ' 1
8 ---------- - .
^ ( Iji hl jd.
4 ............... .. r ^ H h_4 * _..ff* j>
----------- - -------- ^ *.------------
i.
.... 1 _ ............. ......
8 ---------- - 3 1
i * ^ t ii- -.-=
Ji , . } * * ... A I....w
......... !-_______
------ --- ,
^ T i k ^ - .. ....... = * " ~ k. 1
j) .... ., ; ,
^ b^ * # # ------------------- = . 1 - ~ f t* 4 * = ^
GMC 2356
73
i L2 L , E
\}M- b'M- 2
- 3 --------1-------3------- 1-
b
$ b 4=^4 h r"
D
jj ~ 1 # , b# ij
2 ...
f t _ . -
E
D , bi-tfc i -
i L . b* ~ t| ^ # ~ t :
* ,i =
$ yy
Primary Patterns;
?jtj m m i
Also slu r two m e a s u re s .
GMC 2356
74
A , 3 bl bl
=
,
bi
1 \>M- bl L
b#- ^ k
pj
-0-- 77- -0-
GMC 2356
75
Ivan Galamian
Frederick Neumann
CONTEMPORARY
VIOLIN TECHNIQUE
Volume One
PART 2
(ECS)
PUBLISHING
B o w in g Patterns
The Bowing Patterns are realized by repetition. Thus, the basic two-note pattern be
com es Each m aster pattern form s variants by being shifted, note
by note, across the bar line.
All patterns maybe started either upbow or downbow. Dots may be substituted for dashes
and vice versa. Either may represent any kind of detached or staccato stroke, short or
long; on or off the string.
Apply the bowings fir s t to the Prim ary Patterns which appear at the beginning of each
ex ercise in Part I. Then combine them with the Rhythm Patterns to be found starting on
page 20 of Part II.
2 GMC 2356
ONE-NOTE BO W IN G PA TTERN S Bl
n v
i) 0 0 0 2) 0 0 0 0
v n
T W O -N O TE BO W IN G PA TTER N S Bl
TH REE-N O TE BO W IN G PA TTER N S B3
1) 0 0 0 2) 0 0
0 0 0 0 0
0 0 0 0 0
3) 0 0 0 4) 0 0 0
0 0 0 0 0
0 0 0 0 0 0
g m c 2356 Copyright 1966, by Galaxy Music Corporation, for all countries, P rin te d in u . s . a .
3
B4 FOUR-NOTE BO W IN G PATTERNS
4 GMC 2356
FIVE-NOTE BO W IN G PATTERNS B 5
* Variant :
From here on , each m aster pattern is followed by a variant which can form still fu rth er variants by
being shifted, note by note , across the bar line .
GMC 2356 5
B6 SIX-N OTE BO W IN G PATTERNS
6 GMC 2356
GMC 2356 7
8 GMC 2356
EIGHT-NOTE BO W IN G PATTERNS B8
1) 0 0 0 0 0 0 0 2)
CMC 2356 9
10 GMC 2356
N IN E-N O TE BO W IN G PATTERN S B9
i) 2)
GMC 2356 11
12 GMC 2356
7) 8)
GMC 2356 13
Bll TW EL V E-N O T E BO W IN G PATTERNS
1) 0 0 0 0 0 0 0 0 0 0 0 0 2)
14 GMC 2356
GMC 2356 15
16 GMC 2356
GMC 2356 17
(B n )
SIX T EE N -N O T E BO W IN G PATTERNS Bl6
Sixteen-note patterns are formed by combining patterns of sm aller groups adding up to
sixteen notes, such as a twelve- and a four-note group; two eight-note groups; a seven-, a
six - and a three-note group, e tc . These newly formed patterns may then be shifted, note
by note, acro ss the bar line to form still m ore patterns.
Exam ples:
a twelve- and four-note group:
The sam e combination principle can also be used to form new twelve-note, nine-note,
eight-note patterns, e tc .
GMC 2356 19
R h y th m P attern s
The Rhythm Patterns, like the Bowings, are realized by repetition. In some instances this
repetition is spelled out, partially or entirely, for greater clarity . A bracket I I is then
used to indicate the basic pattern.
A slur combined with a horizontal line linking two notes shows that they are tobe played
as one note. For example, J j> indicates one note representing the time value of five s ix
teenths. The line is to show that the pitch rem ains unchanged.
Beginning with R2, the patterns in each chapter are arranged in three groups under the
headings of a), b) and c ) . a) presents simple rhythms in traditional m eters, b) syncopated
rhythms and c) rhythms in irregular m eters.
The following patterns should be practiced fir s t ddtache, then legato. For legato practice
begin by slurring the notes of the pattern only, J^ 3 Then extend the slur over the en
tire m easure. Where re sts within the pattern prevent a legato rendition, play the pattern in
one bow stroke,
As a final step, bowing and rhythm patterns should be combined as illustrated in the last
two examples in the preface.
NOTE: It may be advisable to begin the rhythm patterns on open strings before applying these patterns
to the scales, noting those that are troublesome fo r additional attention.
20 GMC 2356
ONE-N OTE R H YTH M PATTERNS Rl
Every sequence of equal notes represents a one-note rhythm pattern, to be defined as the
repetition of a single note, or of a note and a re st:
1) 2) 3) 4)
IJ J
All Prim ary Patterns in Part I belong to this category. T here is no need for further examples
except for afterbeats and syncopations like these:
l) 2) 3)
-j ? | | I u r 1" ^ | -j k
7 j j j jllj> in ? n 0 0 \-0 I m-I0 0 -w m m
4) 5) 6) 7)
8) 9) 10 )
? J) ? j! ^ j! I ? J* v y ^ i ^ i I i- J* J* */ J1
GMC 2356 2
jR .2 T W O -N O T E R H Y T H M PATTERNS
1) 2) 3) 4)____________ 5) 6)
7) 8) 9) 10)
77 i H 7 i n in.
1) 2) 3) 4) 5) 2 against 3
b) i j_ . f i i j ? i> i n j ii ? in j j
J f^ L T f
1) 2) 3) 4)
c) g J. J I J J. I J J>I J> J
5) 6) 7) 8)
I J J. I J. J I J-J> J I J JU I
9) 10 ) 11) 12)
I J Jl I J. > I J> J I J J-
22 CMC 2356
TH REE-N O TE R H Y T H M PATTERNS R 3
1) 2) 3) 4) 5) 6)
>id) r ~ n i m im im iF 3 n
j~~b i h i . i m iii j t j im im
1) I 1 2) 3)
4) 5) 6) 7)
r m . i j. 3_ j j im _ j m i
8) 3 against 2 9) 3 against 4
* vi i
ni id ji i *
t r rt t i r~ p h " r P r
1) 2) 3) 4) 5) 6) 7)
1) 2) 3) 4) 5) 6) 7)
J II JrH'dJ III J. ] J J II J J J. J II J J ?] J
rm rm i ? m n y j 1n ru u ^ 1r im jm
jn jn -j ii J- 5 7 7 7 ii X T J L s ii >j. r m ii r n
6) 7)
I jt t j ii j m
8) 9) 10) 11) 12 )
FIVE-N O TE R H Y T H M PA TTERN S R5
1) 2) 3) 4) 5)
) j j j j j i r r m i rrr~ n i m n irrm
6) 7) 8)
n m w r h n
rh n in f f i i Jrn n
GMC 2356 25
(Ri) i) 2)________________ , 3)
w 3, ? i m m n n 11
4) 5) 6) 7) 5against 2
j %j i . n ii r \ n ^ r n n jr u r \ n m r r r n
r r i ftr r
1) 2) 3) 4) 5) 6)
c> >r m
>
i >r r m> nn m 1 n \nm \ n
7) 8)
n m i jrr3 m i
9) 10) id 12)
m j J- 3 II h .H II 7 ! JfS II n ! II
GMC 2 3 5 6
SIX-NOTE R H Y T H M PA TTER N S R 6
1) 2) 3) 4)
*>! r r r m i; j j j j j ij j j j j j in r m n
5) 6) 7) 8)
fj i j n i JT T m i /j j m irrrm i
j j j rn I j j r n j ij Hi j j i j j
rm n i r r r m nm m i j srm i i m j i
8m r n i j~ tj m im m 1m m 1
31) 32)
m ?m im ?m 1
GMC 2 3 5 6 2 7
( R 6) i) 2) ____________
I ijn-ri-rn n
frir:im
6) 7) 8)
4 n ^ n .n n i n .- n n ~ m i r y ~ r n s ~ n
9) 10)
n n n ~ n n
1) 2) 3) 4)
r r r m m m nm m ii r m n
9) 10) 11) 12)
n rm j . r a j i e j ^ j i n j r n
13) 14) 15) 16)
m ij n i j n im ii m \m a j m
20) 21) 22)
2 + 3 + 3 i i i k * i k ii i i k * r "T i ii 3 + 2 _ + _ 3
8
23) 24)
m \n\i n\m
GMC 2356
28
SEVEN-NOTE R HY T HM PATTERNS R 7
1) 2) 3) 4) 5)
rn rm ii /r a . m ii j j o t j ii / j o t j ii
1) 2)
>> i ;= m i > i 4 L /t t j m 4 t r
3) 4) 5)
m /n n i r r m n i /rrrrn
6) 7)
8) 7 against 2 9) 7 against 3
7 7
2
4 j
i
j
ii
j
i i ii
j j
i
j j
i i ii
ii i j .....j ... j
i i i i i i
j j
i i i
j j
i i i
"J \ I
r
I
r r
I
sri r
* 1"* I
r r
I I / "J\
r
I
r
I I'
f-'N
j -t
I
rre r
I |
r
GMC 2356 29
(R7) 1) 2) 3) 4)
m r m nm r m nm j> /n iln /r r s
9) 10) 11) 12 )
j im r r i ir r r r m i
irm m nm rm \n m n ir m m n
m rm wnm mi }xrmm ? ju
^ n ;j
jM
m ji m
m i m j i m u m j j>ij j>ii
3+2+3
P H l i J
i m i J I J n i J i J f t
GMC 2356
50
EIGHT-NOTE R H Y T H M PA TTER N S R 8
1) 2) 3)
rm r m n/r a rm 1 r m r a
10) 11) 12) 13)
r m m i . i r m . r m nn r . i m un m n r .
14) 15) 16)
j j n n J j I r a n j j n I FTT1 j n j
17) 18) 19)
m ii r m /m . nm ra n
20) 21) 22)
i r B fm im nSn r a m irm m
27) 28) 29) 30) 31)
3)r r m j r i 'ru m / m m . r a m
n m T R -F m II /T T /T 3 /T3 I
i ! n j~ x n . r a i W m n r m n
" r r a n i jn j. j j. dj. j i j f m r r r
7) 8) 9)
ir m irrrr^ m ir m rro
13) 14) 15)
rm rm i/rm m njttj m /3
16) 17) 18)
g
v*n m m nn m m nmj J>m
> > >
1) 2) 3)
ooco
4) 5) 6)
m j n m ij n n j m i jo j m m
7) 8) 9)
m JT} m I I JT
3JT3JT
3 I I J J3j t j :j J J II
10) 11) 12)
jj/jjjj n u n n i s m nr m n s ii
J JJJ J I JJJ J J Ij J
fc-ro
r r i m m i m m r t i nn m n m
rrm r m nr~ j m m nr m m n
G M C 2 3 5 6 33
(R 9 ) 1) 2) 3)
>)m snm i m mm i m m m
> > > > > > >
rn mm i m mm w
m mm
7) 8>r
trm . n rm nx l r i m . m m mjw
1) 2) 3) 4 ) _______ _______________
o i n tF rm t\ m m m nm m m i r a f f r m n
2+3J
8 n \ m \ m t i m \ m \ m i rt\ m \ m
18) 19)
r n ir n ir n u i r n if f n i
20) 21) 22)
3 + 2 + 3
m \ m \ m \ m \ n \ n T ] i m \ n .\ m
23) 24)
m i r n i j~3 j j i j. m
i r n \m
24 GMC 2 3 5 6
TW EL V E-N O TE R H Y T H M PA TTERN S Rl2
1) 2) 3)
jt jtt jt j ii j jt jtt /t o t ii /j o t j t j jt j
10) 11) 12)
j n fm fh n iij mmmmmmi jt jt
13) 14) 15)
j jt o t jo t ii j o t o t j t j i j j o t j t m
16) 17) 18)
JT J JT J3 O T IJ J3OT JT JT I JT J3OT JT J
G M C 2 3 5 6 2 5
(R 1 2) 28) 29) 30)
ro
J J J JJJJJJJJJ i j j j j j j j j j r n ii jjjj'jtj
31) 32) 33)
JJJJJII JJJJJJ
34) 35)
j j j j j j j j j j j j l JJJJj j j j lj j J I
36) 37) 38)
2 j-j mm i nm n mm nmmnm n n
39) 40) 41)
n i n r t t iJ i f m i / ff3 /r r tt jfjii
42) 43) 44)
j- ] i j? js r 3 n f f i 1
51) 52) 53)
r h j j f l j f f f } i i r f a f f f i r h nj w r i i n b i n
54) 55) 56)
.T f e T n .m iiJ i m m f m iij r m n m r t w
57> 58) 59)
j j j j j ji j FTTt i r m j j j j I m n/ m j j j j j j j j i
GMC 2 3 5 6
Note: The preceding patterns can be varied by substituting dotted notes: (R 1 2 )
.
> > > > > > > > >
JJJJJ>JJJJ J
> >-
JJII J'J7 "J>JJJ>J'JJ>JJIIJ
>
''JJ
>
JJ J
>
JJj> JJjII
7) 8) 9)
i i f }
>
r
>
h r
>
h / t>j i i m
>
m
-
m
>
m 11 m
>
m
>
m
>
m w
m m m m u m m m m 11 m m m m 11
i m m n i
8) 9) 10)
l) 2)
>i n rm m j j j jtj
3) 4)
r~ J / 5 T 3 JT T T T 3 .FTT3 rm rm n m m i
5) 6)
n n sm
7) 8)
n M ] m n r r t i S~1 J"~J
9) 10)
1J JJ J 0 0 0 0 0 J JJ
id 12)
m r j j j j j j 1] f r m ifr m n m m m i
13) 14)
15) 16)
um m TTm i m
17) 18)
J JTS /f f 3 j j j j J 1j r r r m f m r m J
19) 20)
23) 24)
3 5 1 5 3 1
m f r m j j j j" jttj i m j j j j j j j j i
jo t
f j T 3 r i~ j i J fw w u m r i~ i
38) 39) 40)
12 12 6 10
=n II |.T"jniy r T B g
J J T J ^ 7 s II J J J J J J J J J i f f i - T J J J II J J J J J J
im m i j j j j j j j yddddddd I Jdddddddd I
GMC 2 3 5 6 39
(R M ) 1) 2)
>
r m> r m> r> m> r m nr m
>
r m > r m > r m
>
r m> r m > r m r >m i r m r m> r m >r m
1) 2)
<>? ~ ~ r m r m r m i n r m n r m r m
sj t j r h r h r h rm i 'n r h r h rm rm
) n r h rm m m nr r fm r h n j rm
7) 8)
j n m rm m m \ \ r m r h n m m )
9) 10)
OOQJX
j j j j jT j rrm i rm rm
nm
1 3 1 1 3 1 12) r 3 I r 3 I I 3 ___ ,
r r r r r m =rrm ~ m m r m rm rm
00^1
13) i 3 i i 3 I 14) r -3 I 1 -3 -1
j j n n r n J T J H A i II j n n m m Jfffl
j j n n j j jjjjjjjjin rm jjjjjjjjjj
15> r-a -. i -----1 16) ,- a - , i3 i
4Q GMC 2 3 5 6
Ivan Galamian
Frederick Neumann
Volume Two
X. TRIPLE STOPS
A. Diatonic Triple Stops in Consecutive Motion......................................................................................25
B. Diatonic Triple Stops in Disjunct Motion............................................ 26
M
PART TWO: ARPEGGIOS
nM?
Preface
The second volume of Contemporary Violin Technique deals with double and multiple stops by way of scale and
arpeggio exercises. Together, the two volumes are intended to serve as efficient tools for building a technique to master the
violin repertoire of the past and present.
In the first (scale) part of this volume, most exercises are written in C but contain the note Practice in all keys. In
many exercises, where crucial technical problems are at stake (such as scales in thirds, sixths, octaves, etc.) it is important to
follow this instruction conscientiously. In other exercises, though, a smaller number of keys might meet an individuals need.
However, those who want to get the maximum benefit from this book are warned against limiting themselves to the written
key alone. By so doing they will severely handicap a balanced growth of their technique.
Where alternate fingerings are given, above and below the notes, care must be taken not to interchange them. Both
should be practiced and new ones may be devised.
As in the first volume, the notes are printed as unstemmed heads to facilitate the use of bowing and rhythm variants.
Double stops, by their nature, require fewer bowing and rhythm patterns than do the single stop exercises of the first
volume. However, the introduction of a few patterns is highly beneficial, once the exercise is mastered in its simplest form. The
patterns add a new dimension of technical challenge and besides minimize the danger of mechanical, unthinking repetition,
which is the chief cause of wasteful and inefficient practice habits.
The exercises are arranged in groups of either 6, 8 , 9, or 12 notes. In order to avoid needless repetition within the text,
the basic Bowing (B) and Rhythm (R) patterns for each of these categories are listed here:
Groups of 6 notes:
Bf] n J i w f f t f J t ii
Hu /]. ii ntw m m i m u
Groups of 8 notes:
bn r ) r n ii m n m rm j f f l n
brin /]. i n h urn ii rm . nj m n
Groups of 9 notes:
bfp f n n )\\m m m m m m h
bm i i m m i i J T i i i m m m h
Groups of 12 notes:
b fn ] J ) JjLii m m m m fn m n r m %
n j) r n ) r m u m r j j j j j j j i i
'I*
Another approach is to practice a small section of an exercise first on one string, then on the other:
$ rrrrr
Following this procedure, one should finger the double stops as written, but bow only one string at a time. This method is
especially helpful in discovering the causes of poor intonation and in detecting flaws in shifting technique.
Finally, all exercises can be played in continuous alternation of the strings, be it slurred or detached, starting from
either below (ex. 1) or above (ex. 2) or in the triplet versions of exs. 3 and 4:
ex. 1 ex. 2 ex. 3 ex. 4
The gratifying reception accorded the first volume of Contemporary Violin Technique encourages us to believe that
this second volume will also be useful to teachers, students and advanced performers of the violin.
Ivan Galamian
Frederick Neumann
v
Table of Symbols
Symbol Definition
D A E Designation of strings;
G D A a single letter stands for the upper string.
1
11__ ..... .............. |1
Keep the finger(s) down.
or 1 .......H
h - Reach up.
Reach down.
-H
vi
Part One
SCALES
I. THIRDS
D
a) G
-4--------- 4 -
t i t i t i f
i I
1 : it* f t *1rfr* > ( ! ( It** * **tl
b) A A D D
D D D G D G
G
a}
| f it **; i f i t * * * * * * * |
A D A E A E A
(E D G D A D A D
E
, d) A
t t t
i D)
E
D
E
A
A
D
E
A
A
D
'E>
<Aj
$ E
A
A
D
E
A
A
D
E
A
D
G
t f t t f [ ti f * t
* F o r example:
B major F minor (harmonic)
J*
tj.f. T " * 7
I / A / 2
1 2
3 4 ] 2 1 2
m C S % m m-~m m C m..' ^ ^ g _ .. .....
--------------- 1 * ----------- * 1 % * * < 1 f | l < f f |
D
J () G
Groups of 8 notes 3 2
P ractice in all keys 4 4 2
1 S 3 _
1 1
* * * * * i ,
O A 3 ....g - f \ , i * * i * 2----------------------- ;----- ---- " ----* ----
----- 4------------------ --------------------
3 f t * * * * E
D A
1 1 3
1 1 I 1 - i * A *
1 1 3 3 g - f - . - f - . . - - , r.....
..... 8 "3 V $
% n * * r = i
g * T ~ E
3 G D A
9 2 1 1 3
, 4 1 J 2 1 3 3 4 -
1 < g f g 1 , 4 - -* ~ .... m g -----* ----- ----
--------- x J T 1 * 1 f | g U * -------------------
g - D D D A
3 , G G D
4 1 2
1 3 3
4 2 2 2
= f- * M 4 4
2------------ ----------------------------------------- ...........J g 4
----------------------------- * I g
4 ---------------- ----------- ------------------------ - 4 - ---------- --------------------------------------- -
fj E A D
A D G
2 ? 8
2 J S f 4 i 2 2 n I I
< : * * * i i
f | t f t t * - --------------- g i f ........ f a I J < .. - 1 .................. ........ -1
f w -------------------------------------------------------------------------------------------------------------------
3 1 1 1
3 3 9 1 1 1 1 t
g ...... - m-----3 ------------------------- 3-
. . 8 ~i~ :
^ -------- = ------------------------------1 * * 1 * f * ~ f f I l g J
c p 4
u G
GMC. 1.2 5 6 2
4
2 1 2 0
L4 3 |4 \ 2
1 1- 1 J > J . ....... 1 T *
4 # , 7tf ,u 4 ! ! II B
.?.... 7 m. v% 41 .f ^ 2.
r ^ i f i fft 2 | segue 11 n * a * 1/ * t| "
11 2 f f segue 4
4 4 4
d o^y
1 2 1 2 1 4 > J 1 ! ? 2 2 2
A 4 3 3 4 3 3 , 4 | 4 4
n ^ = i f ^ maC f .... bf i t ! b J t f i k * , t frl^I i>
r+'w * ---- fL---------
7 f J h ----
1 ----- 1 segue----------------------- 1
J 4 4 4 *,
44 42 I 24
3
2 ) o cirrus,
m
I2 I 2 I 2 segue 2 2 segue
cPCrUP.
p *A * A
$ ~ ri a 1j 1m " =
ii lit* * 1 1= I 1= * ^ 4 <1,4*$* J*
2 Sffgaff
f
........................ . .. . ------------
segue
2 l 2
4 3 .4
- T-fr-i 4 3r-4 5 n-----
> 1y
y y t
i Ijf
GMC. 1.2562
1/ D
D. Chromatic Major Thirds
Groups of 12 notes
c onIy 1 1 2 1
11 11 1I segue 3 3 3 segue ^
-i 1 - 1 I u 3 |^ l_ J I * 2
IT?? j
-2 ii
1
3
2
, 4
2
3
i 22 segMe
w h in?df 4 4 4 segue
n11|ii p1 fob'll^11!!
1 2 2
only
81 Wiffl
-|. $*i
I 3 8 3
tJ 1 I 1
3 3 3 ***
! ?
1 2 I 5
- 2- 3------2 s-e gue-
f
Two Octave Scale
1
1 24 31
A
D
* u ^ N 4 4 > t L I.L .J .
* 1** * * ;
A ^ f ff-f .
D D
1 ** 4\ 3I 24
$w * * a A
IzS^tS
s
D
(* * I )
CMC. 1.25<?2
F. Alternating Thirds With Open Strings
I/F
Groups of 8 notes
Four different fingerings are given. Each may be applied to the whole exercise.
P ractice in C, F , G and D major and their relative harmonic minors.
only
-4 F
D
only
only
2
0 4
j) only
2
4 2
4
2 1 "=
Tar 4 * 8 m .A m g v-
G. Extensions
Groups of 6 notes
1 2 l_ 1 2 1 21
3 4j 3 4 3 4J
$ . ut jf i t <t* w 1,?*
3 4J U 3
1 2l_
4T >\ I
S t i ts t f f ' t t t \t H it? *- * i it
0) v I . This exercise may be
continued into higher
* Keep 1st finger down through each measure.
positions.
$ 21 22 3 3
* #"
2 2
A D D
D G G
g * 2
2 2
2 2
1 ~ji0
3
3
o 4 * 4
?#
^ g- 1
|p l A D A E A
TT-^~ -Er
A
(8) D G D A D D
-3---- 3-
'i 2f 21
~9--- ^
| segue
segue
4
-3-
m * ~ar
4 4 segue \ 1 segue
3 3
CMC 1
8
II/A
Groups of 9 notes
P ractice in all keys.
A
D
12 A
D
3
D
G
Q , . 2-1 r=------m.# -.....
gp v... ...... ^ ----- ~m 'm._ o w m
JL ---- 1 i m 0 9 - m 0 - j s m ..............0 m * m-A...4 ......... 9 I * # , 2 ....i ~
3 ............ *----- ----- ^ ----- 2: #
W .....* .. 2 f \--------- 2 ---------' ----- 4----- 9 9 m - ^
3 1 A E A
A D D
D G
E A
A A D D
D 2 3 G
L - 2 ----------i---------- 2 ---------1
..4...4 ..3-------y------ 4----- ------4--------- T * ^
1 2 3 1 E A
A A D
D
E
A A A
D 2 D
2 1 3
- f ------ ------- -4- w ~ ^ 0 * .0 ------------- m.. m..0 - 7" JP A
# up* 0
i m ----- r 9 - # m
0 i x ^ I --- -------- --- a ---------------- --- 4 -4 - ----------- 4 ----- ------? * .. +
- J L
JE K l
^ Z Z _ J i5 4
, ------is----- -3 4- 33 ----- 4---------
- 4 - -------- 3------ # 0 -
4 2 1 3
3i1) E
A
A
D
Although the above fingerings are usable for all the keys, other fingerings are better adapted
to the needs of any specific key because they avoid the oblique movement of fingers from one
string to the next and thereby result in a clearer articulation. The principle is demonstrated
in the following three major and three minor keys and may be applied in analogy to all others.
2 4
3 4 4
1 3
2 4 2 JBl -0- 3
-434-
==*:
A E
D A
(!)
i
A 4
D 3
4 2
-3-1- i4 i2 \
1
-42- 9 mi
3 1
0 2 2.)
(V32
GMC. 1.2562
9
II/A 2 < f 8
4 2 4
A J I J? M 3 1 3
minor ^ jp #
(!)
GA/C. 7 . 2 5 ^
10
II/A
n
4
3 3 4
3
Ab
* m
majors
A
D
n 4 2 j
3 1 4
m0 =#=
(\)
2 8 n
1 4
4 3
2 4 3 4 2 4
f-j T # ,.m
- ..0 ^m # ^TT.*_ m o m m o m
^ jp # # # i r ... '
w .. m m m ..... ^ .
----^ ^ ^ .* ------
t T ; r # * ------------- EH
D
GMC. 1.2562
11
II/a
2 8
4 2 1 ,
3 1 2 4 ? 4 2 4
4 2
* 2) .EJiZ.
C J M _____ _ k ------------ b^ ^ # . a .* .- 4 -a _
-------- .------------1 + -* ----- 1.*. M "o * * "0
minors L-E--------------------------------- 1 ---- 3-------- * 0Z 0=J
D P2\
VI/
4 8-
4
3 A 3 4 2 A
4 2 2 3 1 u3 l 3g 2 4
4 2 4 2 3^ j
3 1 i. m. M, .. -.... .... ^..(P 1 4F.^ i __ ir - # I 3
fc
i a ; %
(!)
" " ' 1
2 4, 2| 8
2 4
2 1 3 1 4 2 4 o a
2 4 f J i _ 0 0 + 1r 3 1 - i 2 4 I 3
-*4. 3 1 3 2 4 2
I9 r = j .I t
^ # * ---- -1-------0"0"\ _. \:0
---- # ' jpj~ - -m..rn m 4P
m
_____----- ; P* jb.^#
o m L ^ JJ
f 1^ ^
D
(8 ) " 1 4
15 i k. 4
3
4
3 4
3
4
3
4
3
M=L :* = * = --ii #
$ A
D
D
G
4
4 4 3 4
4 3 3 3
3
3E
A E
D A
(8) n 2
l
i
u
n
i
0 0---- K
1 --_ 0 jp--U
- *. -- 4P------- 0 '
<
GMC. 7.252
12
II/ c
E
A 4
4 4 44 segue
3
f -2f $
r-
1 22l l 2 8 1 2 2 8
1I f
2" 8 8 i t j 8 3 2
1 2 2 * ^ ^ ^ 2 2 1
g
2 2
'f t ? ^
1 3 2
11
2 H
1 2 1 2
t*T \W I I j
1 2 1
4
2
4 3
2 1 r?+ -&-0-.t 3 1 4 4
2
fjij
zzannp
1 2 5 5 2 5 5 3 4
E only
4 4 4 segue u - - - - -
GMC. 1.2562
13
ii/ d
only
D 4
3 4 3 4
2 3 3
3 ^ T " 4 3 # 4 * 3 4 4* 4 * 3 4 ~3~# 4 * 3
2 2 3 2 3 2 3 3 3 2 3 2 3 2
E , 2 3
a only 2
2 1
a ii ;i 23
1 + 2.
M. 1
JL 21
m 0 -0- -m ~ ^ *
m am 0 m
GMC. 1.2562
14
III. OCTAVES
A. Diatonic Consecutive Octaves
Groups of 12 notes
P ractice in all keys.
F in gered
4 3 3 4 ? 4 3 4
3 4 3 4 2 1 2
-4-2- 1 2 I
4 3
+ * 2 1 4
A
-24- 2
* 0 0
D only
3 4 3 4 ? 3 4 J 4 3 j 4
2 1 2 1 \ 2
1 2 ,01, H-
0 * 0 m 0 - y
i only
D
0 4 3 i 3 4 ? 2
42 ?1i2 1 2
-0-*-
* =*=#=
m
-0 ~ + -*-r
E
A
GMC. 1.2562
15
E 8 1
Ill/ A A A
A D D
4 4 segz/e 9
-41--- -l # G
3j| zmdt
m # * # jp
=MZ
dtjm z
E A
A D D
G
E n
A A
4 4seguel> .j l : D D
-4 i G
m # M0
=*==
E A
A D
E
A n A
segue
Fingered U 3 4 ? 2 ? B
i* ^IS
n S ' ills \ 4
m
^... # 2
i d
j z:
zzzzzijnr"
E n A
A segue
3 4 segwe
1 2 _ ^ ?2 D
G
*
>
------------- _0 m-----
m.--- 0 --* --jm -Jl----- _____ ___m 0
1
1
m--0 --
U
i
I*
m #
..0mm0------
T -------- :z------a ^#v
z z z - ------------ * ------------- m 0 - 0 - 0 ~ r - z .... 0 .
3 q
3 i segue
A 0nly
4 ; segue
1
t 3 C
* W
zm -fh
4 { segue 0 8 " n
~ y ............... ~ m ~ j - * - 0 ............................ "r .. -------------- = -------- -------------- = - 1 m 0 _ . a r _ --- j. ..............
0 ------------------------------------ * 1 " ....w 0 ^ 0 ....... -....
1
i
G
+ ,
1
CMC. 1.2562.3
16
III/ B
E 8
A A
*4 4 segue D
"
^ 3 5 3 A 3 2 j IT segu e
, 4 3 4 3 ^ 3 2 2 1 2 1 z 1 E 1
3 2 ? 2 i z 1 a
A
1 2 1 D
(8 j) 4 segwe A
-a . 1 D D
G
=#=*= y
==*: rr ^ :
% 2 1
-a
2 j 2 j segue 4
2 1
3
C. Chromatic Octaves
Groups of 8 notes
G only ,1 1
I 1 i. 'l * \b ZZ
_ 3 _ 4 4 *" # m ^ m k________ ,________
8
= g g g g = ^ L .. '8 * * r
; ; -L
** r 1
- i
* ^
\l *1. i> *
^ 'i i = g
^
0 1 1 se* e
only
D 4 4 segue
1 1
i*
# g# j riac.
? ~ w
-8 -31 2- 4 3-
1 2
4-
segue
12
[3 i 1 2 1 2 se s u e
E only
A .
4 4 Stfgwe
-ar] ^
2 2 segKe
3 4 4
3 4 4 segue 0 a1 1 m$m
4 4 segia? 0 1
i=
i . t ]*'
ft' + ilr -
2 3 3
3
Q segue
j segue O il
0 1
(8)
, a3 4 1 4 * segue 3 4
F - l- l ^ ^ - 0 ,1
# B---------- --------- ------- 'I?* !>! # P m-
#p# # W =^= W - y Jr
# 2
O
3
i !
3
segue !|
O i l segue
GMC. i .2 5 2
17
III/D
D. Whole Tone Scales
Groups of 12 notes
9 .....................................................................| r ~ it ~ w -W . T T l - I -
. j l _ m t + i 'j l m ~a t m j l 0 M
segue
4 2
i
i
$ D
i J o 2 -# 12 1? 1 4
i
F. Extensions
Groups of 8 notes
P ractice on other strings as well.
4
3 4 3-I 4O 2
| Z | Z O ft Z || Z 4 |Z Z Z La
4 3 4 3 4 3 4_|3 4 3 4 3 4 4 4 3 4 3 4 4 , 4 , 4 ,
1 1 ill 1 1 ii* l 2 ,, 1 2 1 2 3 2 ? | 2 1 2 1 2 3 2 3 2 ? 2 3
0
\>0
*-\)0
9 n 0 M L.*
*\ 9
____0
i * 0- b0 0 0 )\m 0 +
0 9 90
0 \^}
i # jj. 0 ^
4 4 4
a *4
<l 4 4 ses u e 33 *4 *4 9 33 4 44
** 9 , * 29 92 I1 92 , i 3
2--JL 2-^b
, J
l.'*
. ,
i,?# 1j] I ^#W
I? 0
- i~ T |J2^*^*^ *Wjj-2
* u w g ln r tg ~ Ji- :
gonly
A only
4 4 segue
1 1
=#==
-9-+ - A D E A
A A
D G A D
4 j segue D D
E 1
(S). A f = = i i * i t i 8 .
.a : : ----------------------------3 : -------------- m + -*--0 -- 9 - 0 -
0
# D
E
A
Groups of 8 notes
P ractice also in A, D, G, F and BV major.
3 i 8"
4 3 i o
1 - = = - .
ZMLZjjl
3 4
3 4 0 1 JL _ 3
0 1 0
T=t
X =#=* ==#=
1.2562
IV / c
C. Chromatic Minor and Major Tenths
G roups of 1 2 notes
j? only
3 4
0 1
\>o H# * j g ^ I- \\ * It* [IF
-V jf51
(5)*
E o
A 3
|y< r v %
b
f 0)
Z). Tenths and Octaves Combined
Groups of 1 2 notes P ractice in all keys
E
A
4 4 4 4 segue
l I 1 +
1 /L * " 0 # ............
1 3 * 3 3 -4 3
*J 1 1 1 1 1 lsegMe
(8) n
segue
A only segue
D3 4 segue
5 1 1 1
Q 1 ^ 4P
1, mi
'
5 only
m
segue
4 3 4 3 segue
1 1 1 1
20
V. FOURTHS
9 e q O q 2 - 3 3 2JCI o - 3 2 -3
3
*> * * CF oft a .i l . , w
<)
..... *....... m 0 ~
0
#
m = -* - _JL _ m
....V -' Ji * m
1
2
1 segue 1 segue
-%------
# 1 | 4 segue
segue
Groups of 16 notes
A
D
t 9 1 I
A
1 2i 2
2 segueD
GMC. 1.2562.
21
V /B
3 segue
-4---------- X = t
21 # #. -fr-
A
D
1
-0 0- 2
3C ::m m ...2
A
D D
G
C. Chromatic Fourths
Groups of 8 notes
D
G
1
fo s ft ' I*
I ire : b^s g b
c f t > ......... w....... \f......
WL/ Lt iu -f t f t jig
J 3 3 b *^ K s 1i~ * -- *-- 1? *-------* 7 #"' *
4 SV ^ - jtt:.. t
segue
(8)'
ii>*-
4 L
* a t f t ^ * ^ |[* ife f t
$ i ~i 1
2 1 2-
3 4-
4 3 4 -JL.
ft s i n f r
F s f t E
A
1 Li 1
fl ,J> i
h...... , 4 ........ 3 .... 4 ........ 3 4 3 2
4
1
3
2
4
1
3
2
---- rns:----
X----- --------------------------------------- * bn-s:-----
i h-1 .. f/S 4
GMC. L 2562
22
VI. FIFTHS
2 3
if..I o 0 21k Sf2 "_ m~ ^ ^ jp ^ ------------- 1 ..... ...... # _ . 1 0 3.... a_::
- H i H ----S--- --------- 0 m w .............. ................. * M m0 .. g ...*
-/K r ------- m ^m 1^ ...,m .
......# " # ' ................. # 9 _
B. Chromatic Fifths
Groups of 12 notes
2
D 1 2 1 segue 2 2 \ segue
-2- -4-
1 -4 2- ipg ^ p#
.
segue
2 3 1 2 3 { | J 1 J I |i 1 ,3 i { ! 2 1 3 2
3 , 2
Ly ..j
P |
ill: Til?
"
^ -4 3
^
2 2
f t ,b#
"ill
=
1 2 2 23 ^
segue 3 22 segue
GMC. 1.2562.3
23
VII. UNISONS
-G ------- l-----1segue----------
1
s
!!
1
..................
U
0 m w ^
& j . ~ ~ " " --------------------- E--------------------- ------------------------------ A-----
D
G D
VIII. SEVENTHS
A . Diatonic Consecutive Sevenths
Groups of 8 notes
P ractice in several keys.
E
A A - - -| 4 4
D 3
i 8' 4
2
3 1 1i 4
2 *l fAr 2
-V---------------
. 0 0 ........ ..
~S------- 2 1 . ; *o O------- 5------- #
,..
T " #....-h
m i... m . ... ~ . O t> o 44 4A j
3 ..... * ........ 9 M '? i o 4 w * m a w 9 ^ __ A
4 3
1 2
2 1 E A
2 1 A A D
D
A E
A
D
s 3
ii i j.
_ j
i
* . 3
-
:
i 3 segue
t A
D D
G
GAfC. Z.25&2
IX. DOUBLE HARMONICS
A. Scales in Thirds
Groups of 8 notes
Sounding g - - - - - - - - - - - - - - - - - - - - - - - - n
$
1 C major E
A bo.
4, 4 0 . 4 H/> jo 3# ^^ ........C lS # .........^ 4 ub o >1 ^ ' 4 ii. - - - j
Sg J t i j l I* 4 8 * ... Sl tg
| |; ^j g
~i
D m a ,i0 r A ^ 4 Jk *.
^ jt i; f l M r P i|w ir liiftjfc , ; v j
8' i
E major
ii H** #
Bb major
u - i . V h :
H ^ i i >?; mWi g I' l ' n w M r y r f l f j p
~i
i f i * * *
+ *
E
Ab major , 4iA ,
GMC. 1.2562
25
X. TRIPLE STO PS
A. Diatonic Triple Stops in Consecutive Motion
G roups of 1 2 notes
Practice in all keys.
Sample bowing patterns:
2 2
1 1 segue E
$
_3 ^ M-
..#
..i . ..I:.:, f jp
D
G
a
4
1 1
33 segue
23 g- --- ^^4i t *
#---r J t -- #--- a .- y- A
Q $*
A
42 45 segwe D
3 3 G
2 segue
1 ^ i
3
4
3
3
2
4
3 segue
3
2
2
1 segue t~ r
D
2
1 2 1
E
2 G
4
1 segue
3
E
"=
-A. _
*
A
~I t .T ' y 'f'-y 4 t
4 = F 4 E
$ =f= : f
4 segwe
- A
I y
26
X /A
3 segue E
I t H t * *
s -
* T
* 1 E
3 segue A
D f ^ i 4 4 l i t ! f \
4
4I
segue
4 4* 77ie two fingerings may be m ixed: use the 2nd fin ger when the major third, the 3rd fin g er
when the minor third is on top.
E A
1 A D
2 segue
_3______ , -j? m -* r t ^ -g- -j- # W 0 -
11
=#=*= A
E
A D
3 G
4 D
B. In Disjunct Motion
Groups of 12 notes
Practice in all keys.
A
D , 4
< i \ ; ; i * I *
E
A 2
D 4
------K------------------------- j... ^------- aai--------- _
* " iT
C M C . /.2 5 < ? 2
Part Two
ARPEGGIOS
I. OCTAVES
(Parallel and Fingered)
Major, Minor and Diminished Triads
Groups of 12 notes
Note: In the upper fingering o f this exercise as well as in all o f the parallel - octave exercises,
the third finger may be substituted fo r the fourth.
E segue
segue
4 1 E 2 . segue
0 2 4 0 0
"j
4 , 4 a # 0 o 4 : 4 6 w I \ T 4 ^ 4 o #
w
fz i* l ? n1 ?? i f 1* ' t J V ' * 3 2? r ' i 4
i
A
D \2
segue .
!u
4 f |Ap*----- #-
zk:
8 1 - 2-
w f i i I E
A
U T f
U ff o 3
J 1
f ~ T 1 2 E
I 1 A
D
2 M
T?T
4T IT f i 2 2 i 3 f- w
1 2 3
2 ,1 A 2 .
4 A 0
m %m
4 3 4-
i -3 - -8
M I f ^
-# -8 -3-
T
- 1 Jf>0 ^
4 i
3 v
1 4 If-
W ^T 2? 1
'2 * '
1 1 4 ,
2 3 3 1 2 2 3
\>+
\le
1 V J L - 3C Z Z :
w 3= *=
1 1 4
2 : 3 7 # 8
4 1 1
. 3
1 1 4 -#
f 12
, 3 2 ? ' 1 ! 3 2 **
A
E 2
< 4. ar 1 0
m * _ 4 . ^ ^ --------------- &
n---- o 45 43 -*
$ 4 1 ,1 2 1 2 I1 8 i1f 4f - p ^ ? TT4 31 11 2
3 j 2
3 11 3l
42 73
1 1
* F o r /us and JAe other minor arpeggios the following alternative lower fingerings may be applied:
8 8"
, y...3...1 3 * 8 ?
0 1 1 1 2i L1 3 1J 21 1 1 2
A
A
GMC. 1.2562
8 '
1
-4-#-
hi
'Ml
3 # nf ~ i " ? # * T I S ^ * 3 * 4 ! j= f = ^
0 3 o ^ 3 M A 2 f 9+ > } I a 1 f A 4 (!?*} I i I 2 1 * * 1 *
1 1 1 D 1
A D 1 D
D
A E 8 1 A
Ld -#- I -#- -0- D
m VJL m PAZZjB. m M.
t *
3 3 2 1 3i r
1
-#- 4
^ 2 3
# "
M
1
i n
D
3 '
1
rfe
1
2 1 f 2 1 ? A 5 ?
1 1 D 1
3
1 1
5
5 1 ?
1
2 * ? ? A 2
D
5
1
8
4 2 2
1 0
-4----- 3- = f= i
1 1 A A 2
D D
L i'l )
1
I i 11 D
i i ' U i 1, ' i i i T; i ? t 'If
1 D 1
30
I/ B
B. Augmented Triads
Groups of 12 notes
C. Diminished Sevenths
Groups of 9 notes
A
4
1 tat
90-
ZM Z
r t ?
X------;---- -75----Tt-Jj--
hr fa 3 1 ? hr
1 E
A
2
0
k =k
T i f #
* |,# h r - * 1. 1-
T 3 3 1 1 2 'f - * T tt3 r 1
* r 4 1 1 E A
D
1 -f- 3 5 1 i E
\>_
T m I l r f
1 2 f "* * -* tar It*- T * i
A 1 2 f ? 1 2 A
E
tD W n 1
| 1
1 2
9 2 J
0 1
V ^
t>* " i 3 *
3l 2
n n * '
t* 2 2 2 ? f~
4 r.
1 2 f 4 *ffn
I1 M 1lt1
CMC. 1.25ft2
31
I /D
=23
3 4 0 fe
=*^0= - 0 It- ay-# !
fr'
5ft 2 11 2
*
1 Z
4
2 3i
o
W -^ ^ r' fc#-*
3 -0- a 4
tf 2 1
3 4*
2 J 4 3
1 2 ? 2
1 2 2 5 1 0
8'
\>J
=^0=*
43- -4 0- -0 -4 - -34 - 3 4
2 1 -2 3- 1 2 -23- -32- =4=4-
12 -2--- 14- 4 1 3
1 1
*=#=
5i 4 3 0
-2-4 4-
=5=4
-41-
4 3 Ttj4f2 I ft43
2 1 2 3
4 * 0 4 3=+=
2 t 3 &- 1 2
CMC. 7 .2 5 6 2
II. VARIOUS INTERVALS
E
3
#m -20- # #
*
..
^ '"r
I tp1
E .4 A
4
0 2
gy.z zg: # .-
* # ^ #-
1K i)
4 A
i -# -2 1 D
3 g m m
.,. i-feSi # 2 4 A 2
(J
T~r 2 4
3 ) P
2 D
2
,i4 # IZJE I m 'm
m==mz
0 0" 0 0 0
=2= m _ mr.
r*{\ /2
c? T T ~r i r
T*&
33
I I/ B
B. Triads in Thirds and Fourths
Groups of 12 notes
1 , 4 1 1
W '1 rm.m
r i
!.i
2 1 2 ! l ! i
y ^ / i 2 iv T
3- -44- . a * * I
-m-Mm m
TT7~a
w A-S 4 -2 /
(0
12
3 s>
* 12
4*^*1 it
mt*:A"(I S
1* ti*1
, 3 1
2 4 2 | I-3
4 a
-5#- u
4 2
3 3 J 2
i* Jl_
{ 3 i i ^ 3 0 i S
5-<3 I
k jp if ^ f l n w g
v r f T
dz*=S:
-a 4 a
f
GMC. 1.2562
34
-0 -3 -
~~z:
Io|b 5
GMC. 1.2562
35
n /c
C. Triads with Passing Tones in Various Intervals
Groups of 8 notes
E
1 4
3
2
0_- - - - - - - - -
.. : . . . i : - * : ^ z i , r ^ - T T - i ^ ^ S l; # .
S. t * . * ..... .. . . . . . . . . . . . . . . . . . .. . . . . . . . . . # # H $ : S = - 1 h # g J
ji 11^.......
f=p o m m.... g T~ # jj S-
E
E 4 E
2 (u b ftld z i
k# S # m l H
=**
E
A
i 4
D
1 2 k#~*.1
11
a ., 1
2
1 -0 4
-2- frar t t
PS
k __^ _-K -____ | /g J
t* P S
f =*= /1 >
5.5 k A
1 2 A
2 k#J& 2 12 ^ < i , f ,
yJKLP S 5=*:
- 4-
0* _ _ _ _ JZ M p
Hi .... ~|..... - f r y ^
# 1 CT> 8
A
D
2
4
M jfe i
v~*~
ak k y ~ f
iezz~zzac SE
I llfei
1.2562
36
n /c
*
ftp ^*1F f l
E 4
1 3
4 n2
JL -f-A i =#i*=
A 1 5 ^ 2 i \ 2
I i ' r ; ^ a# . | tt L
\ ^ ..-.t M* ---------
* * r t - q
0 ............... .. ~ : .............. : j J
s t y * ' - ( i> "~
IK
2 E
5 * * 5 * 3 2 A- I 3
1 1 -0-_l 2
0 4 3 2 ^ # --* -lt* ^ J. 0 ------------ ., g . m -------
J 3 m \w m n , 1 ---------- ^ * T l -gT .."W"'# 't J|..'#.. *--... m * C A
tm 'a r - F r t l # t 4 -------------------- 3 g - - g _ ------------------------------------- ^_J
i? ^ # (T~1 ^ .....................
1 1
2 _#. -i - i 3 2 M . .
------- o 0 i - +. T T #.
$ ~m ^ ~ ........ * ..%.-m
1 0 --------
____ ,
9 ? * " 1 3f I * * = J
1,1' * ~~
-------------------------------- 0 i
2 2
1 2 > 2 4
J * i
^ ^ -f* 1 < .... i . . . _ * ry
J j - ------------ m * m * -------------- *m m
fm m
^ ^ i < #---------- -.........
--------------
m_L 7m A C
^ i/v ^M M 1^W P
fif ; * ( r r : .... # ................. ...................... # .. JL
.....
G3/C. J.25<?2
37
Groups of 12 notes
2
A 2
P
A
. 2 , 1
_JL_
2
JE --- 3
A E
4 4
3
i I*
JkSujg: in : j
2 1.; , * i>, if* '
:P : :
4
3
4 2 | 1 0
m0
Ai 3
0 I
g b ~ m 01
1
=^H
f ip fsf T r 1* '
! 4rM ^ t i l 41
38
Groups of 9 notes
2 4 2
4
3 1 4 2
1 3
3 .A 3 4 2
3 i
-0------------ 0- 0-
* A
o 2 # *-
|0 * w -+-m-
f (0
a ,t j
2 4
>0 0 * 1 4 -T -3 -
: i0 p
(?) i
4 2
3 1
l 3 1
2 0 4 1 3 E
0- m % 0 2 il
3 *L * -
<r 0 *
(?)
GMC. 1.2562
39
III. TRIPLE STOPS
A. Major Triads
Groups of 12 notes
Sample bowing patterns:
2 2 2 2 3
E 2 E
2 22
1 1
1 .JL.
1
1
1 1
1
2
2
1
2
2
3
2
1
2
1
1
ii
_#L -4-
m mz
m
2
2 3 1
1 2 1 2
^ m * -mm- Jm- .-- -JmK
1 2 1 1 I 1 1
. *^.m ... <
1 l ^
0 I 1
* . ---..... - : iplii-?
iU'7 4
jHP * * # * * # *^ ^
t A A A A A 1
fi ___
E 2 2 2 3 2
8 n2
3
2 I ?> 3
2 2 2
2
2 1
1 1
2
2 2 1
2 2
2 2 2 1 2
1 2 1
1 1 ~ *- 1 1
1
1
1
-m- .... # -m # -
3 2 1 2 3
2 2 2 2 2 2 1 3 1 2 2 2
2 22 1^. 1 } 2 2 4
1 1-- * . 1 ! 2 ? 1 1 2 3
2
I i * * :# :* ! !
:* = y
4
2 4
3 2 2
3 p 2 ; 3 21 1
1 ? ? ! 1
2 i l ^ i . 1 ? 2 1 1 2 i 11 0*
. . *
Ii
0 .0 0
- L
*
5*
/.2 5 ( ? 2
40
B. Diminished Sevenths
III/B
Groups of 8 notes
(Bowing patterns as above)
segue
8'
3
2
1 IZA.
2 4
3
1
0
2
8' 8*
1i 23
0 1
jt a b#- 0 3 d
f t E
4
2 3 o 3
1 2 0 2
(87
t "5#- 4*=^
C. Fourth Chords
Groups of 8 notes
(Bowing patterns as above)
E
1 segue
2 M. \>0-
3 0 i
# ~y ~a_- 3 "In
I
0M. JE
P0- -0 0 -
J> M-.
0 0-
\1^4^
J g *
uD '
1 m mz.
0 - 0-
- 00 *
0-
* -----------
2
2o
-
2 3 segue segue w
3 i 3
4 E
4
L fe*.
L
k P#-
z z z
#0----------- 0-
"WFUM l m m.... mz
# 0 - a
*
9------ T tt
3 3
4 4
41
IV. QUADRUPLE STO PS
A. Major Triads
Groups of 6 notes
Sample bowing patterns:
3 . |it4 1 3 I K*. _ j* . L3 1 3
n* H T ^ ~ f l t , l f y * -W * ? , !. K * ^ y
B. Diminished Sevenths
Groups of 8 notes
(Bowing patterns as above)
segue t
m + z : l jtm
U rT F