Ivan Galamian Frederick Neumann CONTEMPORARY VIOLIN TECHNIQUE Volume One PART 1 Scale and Arpeggio Exercises Catalog No. 1.2356 GALAXY MUSIC CORPORATION adivision of|Preface ‘This is the first in a projected series 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 exercises, the patterns are designed to help the student derive greater and quicker benefit from his scale and arpeggio practice, Since technical mastery depends more upon control of mind over muscle than upon mere agility of fingers, the direct way to such mastery lies through working procedures which present a constant challenge to the student's thinking processes. 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 BI to B16 for bowings, and R1 to R16 for rhythms, The numbers indicate the number of notes in each pattern, For example, the following bowing pattern os 6 «7» is regarded as a two-note pattern, being made up of two-note components ++ and is therefore listed under B2, The design «s» s «os is a four-note pattern and appears under B4, ‘The same principle applies to the Rhythms, The following example Jy 0+ @ derives from the two-note rhythmical figure 9. Accordingly it is referred to as a two-note rhythm pattern and is listed under R2, The figure 29d S77 is a three-note pattern (R3), The figure 1 SVT is a wwelve-note pattern (R12). All three-note patterns can be applied to any exercise employing groups of three notes or any of their multiples, In an eight-note exercise, all patterns of BJ, B2, B4 and B8.can becombined with all patterns of RZ, R2, R4 and R8, In twelve-note exercises, all Band R patterns of 1, 2, 3, 4, 6 and 12 can be combined, This versatility of application permits a single pattern to be used for several different exercises, Innumerable combinations of Band R patterns can be utilized, as well, ‘The following illustrations derived from Chapter 3, Part I, will demonstrate the method of combining the exercises with the patterns, The applicable patterns are: Bl, B2, B3, B4, B6 and B12 R1, R2, R3, R4, R6 and R12 First Primary pawern: § 7 TQ Shh Tame feccse: ——— Ss Application of its first primary pattern: *The guiding idea of this integration is explained in Ivan Galamian's book, Principles of Violin Playing and Teaching, Prentice-Hall, Inc., Englewood Cliffs, New Jersey, 1962. ii ame 2356Application of B3, 2) +» + with first primary pattern: =a Application of R2, 1) é@ a) détaché, 6) legato Combined with B3, 2) «> s and R2, 1) £9 and R12, 8) 4 ihsim 7 Combined with B4, 3) <7» ‘At the head of each chapter in Part I B and R code numbers are listed to indicate the applicable patterns. Primary patterns in which the exercise should first be practiced are also given. To facilitate the use of various bowings, rhythms and their combinations, all note-heads in the exercises are printed without stems. Bowing patterns are shown by note-heads which do not indicate any specific time value, meter 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 exercises in Chapters 1-12 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 diver- 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 material for such treatment, We hope this approach tothe problems of contemporary violin technique will provide interesting and profitable results for both teacher and student. Ivan Galamian Frederick Neumann ome 2356 ittiv Table of Symbols Symbol 1, Il, MH, ete. G,D, A, E pD——— —_ 4 Definition Ist, 2nd, 3rd Position, ete. Strings Stay on the same string Continue with the same finger Reach up Reach down Keep finger down Remain in position amc 23561 Scales in One Position Groups of eight notes. PATTERNS: Bi, B2, Bs, BS, (B16) RI, R2, Ré, Rs, (Ris) Primary Patterns: 1a Aan FD AR Practice this exercise in all the major and minor keys. * tA t 005 = TTONFAAR Tile | Seas 1 Example: ome 2356 © Copyright 1966, by Galaxy Music Corporation, for all countries, Printed in U.S.A «@ division of ECS Publishing, Boston, Massachusetts. 12 Scales on One String Groups of twelve notes. PATTERNS: BI, B2, B3, B4, Bo, BI2 Ri, R2, R3, Rs, Ro, RI Primary Patterns: 1D Wt SHARAD TARAS Practice this exercise on all four strings in all the major and minor keys. ONE-FINGER SCALES no ao os SS = wert? TI TWO-FINGER SCALES G 7 3 1 ergs wey? 7 7. 2 omc 2386THREE-FINGER SCALES G omc 2356 3FOUR- FINGER SCALES G omc 23563 Three-Octave Scales Groups of twelve notes. PATTERNS: Bi, B2, B3, B¢, Bs, B12 Ri, R2, R3, R4, Ro, RZ Primary Patterns: PWerbrrbrrerri Peceicreérrr] PrerechceePrl| In addition to these patterns, practice all three-octave scales with the Acceleration Exercise as shown in the following example, In playing it make sure that the value of the quarter note remains the same throughout. Choose a slow tempo at first(d=50-60), then gradually increase it, The exercise may also be practiced in reverse as a Retardation Exercise by starting at the end with the thirty-second notes and finishing with the eighth notes. Yiet fe _ | ‘ ol+ is lls ie 6 23562356 Alle- 8 23562356 910 23562386 112 235613 23564 Scales of Varied Length and Different Groups of Notes Practice these scales in all the major and minor keys. Groups of five notes. PATTERNS: BI, BS RI, RS Primary Patterns: 8 i nana *Whenever the two highest notes of these scales form a half-step, they will best be played by the same finger. Example: 4 2356Groups of seven notes, PATTERNS: BI, B7 RI, RF Primary Patterns: imnmimagi omc 2356 15Groups of nine notes. PATTERNS: BI, B3, BY RI, R3, RY Primary Patterns: 8 TD | A 16 amc 23565 Four-Octave Scales Groups of eight notes, PATTERNS: BI, B2, Bs, Bs RI, R2, Ra, RY Primary Patterns: 1D BRR ome 2356 42386 1819 amc 23566 Arpeggios in One Position Groups of twelve notes. PATTERNS: BI, B2, B3, B4, Bs, B12 RI, R2, R3, Re, Ro, RD Primary Patterns: IWATE Wt SHAR AS TARAS *Stay in second position and reach back with the first finger, 20 amc 235621 23562386cM 2356 23235625 amc 23562386 26Groups of sixteen notes. PATTERNS: BI, B2, Bs, Bs, Blo RI, R2, Ri, RS, Ris Primary Patter 1a 2356ancanay a rae 28 23867 Three-Octave Arpeggios Groups of nine notes. PATTERNS: B1, B3, BY RI, R3, RY 30 23562386 3192 23862356 334 23562356 3536 2362356 372386 38Groups of twelve notes. PATTERNS: Bi, B2, B3, B¢, Bs, B12 RI, R2, R3, R¢, Ro, R12 Primary Pattern: PerePrrrbrrri EPERESPEPEPL PreriricirPri| Practice this also with the slur extending over two measures, 4 at =f te 2356 3940 2356235642 235643 23968 Four-Octave Arpeggios Groups of twelve notes. PATTERNS: BI, B2, B3, Bs, Bs, B12 RI, R2, R3, R4, Ré, RID Primary Patterns: 2356 45ome 2356 46Groups of eight notes, PATTERNS: BI, B2, B¢, Bs, (Bis) RI, R2, Ré, Rs, (Rid) Primary Patterns: {Ono ammaomc 2386 4849 omc 23569 Arpeggios on One String TRIADS Groups of twelve notes. PATTERNS: BI, B2, B3, B4, BO, B12 RI, R2, R3, 4, Ro, RID Primary Patterns: 1A mame Written for the G-string, the exercises in this section are lobe practicedon all four strings G 4 - as . ? 50 amc 2356*Ossiaomc 2356 52DIMINISHED SEVENTHS Groups of eight notes, PATTERNS: BI, B2, Bé, Bs, (B16) Ri, R2, Ré, Ri, (Rib) Primary Patterns: Wg LREEPraerr 4 sae ot ott a — oe a6 9 6 » ‘ toe oe ame 2356 © Copyright 1966, by Galaxy Music Corporation, for all countries, Printed in U.S.A, @ division of ECS Publishing, Boston, Massachusetts.B4 FOUR-NOTE BOWING PATTERNS 2» oe 8 st —™ oe “ey 8 6 3) . a rn ~ , oo 2.8 oe — Ts oe 6 —~ 5) 0 ene — ~~ a3 or a a a _ a_i ne: oma ace ael —~ 2 9 oe » os oe aS ae a a 3. OS oe 6 a4 Te Mc 2356FIVE-NOTE BOWING PATTERNS BS Dn eee n wee @ » we ‘weve aoe ee 7 rT a a a ae a ee - a a a a a a a Tee Te Tt Como) 4) a6 3) oe oe oO «. a oe wee ee ee as . o7weo ee eee © *Variant: From here on, each master pattern is followed by a variant which can form still further variants by being shifted, note by note, across the bar line omc 2386 5B6 SIX-NOTE BOWING PATTERNS 1) oee0eeee » eee es 3) we owas ~Seo sea seo eee oe bocce ee Boe es a) y 6 omc 2386) ee 8) oo 9 0 ee (Bo) aoe oe a —~ a oe reese a ed oeee . oe ee a i 8 re a a “ee oe 8 ee 6 —_ wT a ~ Ia a te SEVEN-NOTE BOWING PATTERNS —_B7 » 2) 3) weeeee . eee ooeeees ~~. os ssp eo - ce weoee vaceece tacvoee — _—_—_—_ . = ——— eoeceece “ees coer essa cooe eee eee pec eeae ‘ome 2386 753) See cows 6 soe ee we aces coe 2. oes a —_~ = 8) oe oe we 9%” aoe oe 2 . ed ed esse . 8 omc 2356EIGHT-NOTE BOWING PATTERNS —_ BS 3) «30 ee 6 6 2 ) oe ee ee oS rr rr ed oreo ee es as wwe ee 6 wee ee eet wwe ee a ——— . soe oe ee se ome 2356 9— —— eee we “ee & ee “ee es ea ee oe ew ee a 10 a. a6 oe “we @ oe ome 2356NINE-NOTE BOWING PATTERNS BO ec 2356 dWRB omc 2356n amc 2386 13 oe eeB12 TWELVE-NOTE BOWING PATTERNS ee Dee ee eee oecs 2) Cece eceeece re ee coe sare ee eee coe ee cee eeee a ee ecco coe wooe coe e eee s wee ee er ar ee ae) “eeeecece — a “eeeeeecoees 4 Mc 2386(B12) aera arene 4) Se eeeeeees aT SS ar a oe a 3.8. 2 coeeeeeee a —:i; — — TS carve eeeee” ea coeeee — cooee 7 aa coe e esa weveee —peece cocoon sa. coeeeee amc 2356 15(BI2) 3) «eee eee es ase 0) Sooeeoeseaas — —_—_——_—_. Coe ce eee sas oovceeee . —— cece eeee . alt. Ceoeeeews ————__ coeeee wooeeee esas reoevee . . . . . Ce sw... sae ako ——~ 22.555. eo ee ses aweee coe esses eceee —— ——_~ —_ - cooee ss vee cece ees . . . . . . . . 16 ame 2356coeee se er ed eeoeee 8) cooee awl owe a amc 2356 7(B12) ) «se ee co oe Soe 10) a a ee ae ie ace ce ce cesss —_— a Bos we we we ewe a swe Dee a i ee) coe eee ae awe a — Coot Kee we eee sess ceove — oo eer - woos co eweee < re soe ease ae ee eee —— _ co ee cso er cone ——— ee ee rr ee RT ie Bas 18 ene 2356(B12) ooo — oes Ce ees sawn —— . ones coos Cooes coo esae SIXTEEN-NOTE BOWING PATTERNS B16 Sixteen-note patterns are formed by combining patterns of smaller 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, efe, These newly formed patterns may then be shifted, note by note, across the bar line to form still more patterns. Examples: a twelve- and four-note group: eee The same combination principle can also be used to form new twelve-note, nine-note, eight-note patterns, ele. omc 2356 19Rhythm Patterns ‘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 [1 is then used to indicate the basic pattern, ‘A slur combined with a horizontal line linking two notes shows that they are to be played as one note, For example, J— indicates one note representing the time value of five six- teenths, The line is to show that the pitch remains unchanged. SS 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 meters, b) syncopated rhythms and c) rhythms in irregular meters, ‘The following patterns should be practiced first détaché, then legato, For legato practice begin by slurring the notes of the pattern only, 1442). Then extend the slur over the en- tire measure, Where rests within the pattern prevent a legato rendition, play the pattern in one bow stroke, J_ #434, 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 for additional attention. 20 omc 2356ONE-NOTE RHYTHM PATTERNS = RJ 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 rest: » 2) 3) 4) fli) 208 d+d0ds +R TI IMmemn All Primary Patterns in Part I belongto this category. There is no need for further examples except for afterbeats and syncopations like these: 1) 2) 3) tJ JJ dR TD labo | 4) 5) 6) 7) PQLFLLLS le de Dy FRY FP bs FS | 8) %) 10) Geb gh yddada gy gaa de de de dl ame 2386 21R2 > two.NoTE RHYTHM PATTERNS » 2) 3) 4) 3) 6) o8@ CBI le MALI Bll 10) ” 8) 9) FU UFR 09 Fld » 2) 3) 4) 5) 2 against 3 oe. p20 by FLA 1 fut ) 3) 4) oe J us 2 dd ddd | 5) 6) 7” 8) ee ee ee o— %) 10) a) 12) Bi dds SUAS DAL | 22 omc 2356THREE-NOTE RHYTHM PATTERNS R3 » 2) 3) 4) 5) 6) — VO OAIFA WTI TRI AIA | ” 8) 9%”) 10) 1 12) CRIA MTG IT WIT 2) 3) 1) Dee FTILSFTILY MLSTON pha dld dad 4) 5) 6) 7 Co. ITD Wr BIG | psa 9) 3 against 4 2 eo 0d aire en tt 11) fr it » 2) 3) 4) 5) 6 7 VL TIT Id ddl 2 dds NG Wl 8) ”) 10) uw) 12) Ali) All MID ds ab ddd) LOI 13) 14) 15) 16) 17) G2 JON d Lode dd abs aL Iota DN amc 2386 23R4 FOUR-NOTE RHYTHM PATTERNS » 2) 3) 4) 5) 6 i) ya TTR ATI III TTS IT AT 8) 10) u) 13) 14) m5 i FFF. 143) » BI AaB. IOFRIFRA 1s) 16) 17) 18) 19) TRI ainda m1 20) 2a) 22) 23) 24) 25) FITVIITIA FIT TTT CT FTG 2) 3) 4) DvD oF) LIS Wa Aa 5) 6 7” ASA A AL) FLL FTI 8) 10) uy 12) mq P8434 iT re DLDSUILT RD SOLS 13) 14) eee nst 3 tl dvd dL We i th tet 24 ome 2356» 2) 3) 4” 5) (Ra) 98) TID) Ds OTL TTL) ITT Oy 6 7 8 S77) | ATG | 8) 9) 10) uy 12) Bld iN dda) di IT 13) 1) 15) B4+2+3 TVidil WE lil dU Te LTD 24343 8 FIVE-NOTE RHYTHM PATTERNS —-R5 v 2) 3) 4) VITA IATA | 6 ” 8) ORR OICM | %) 10) uy 12) 13) @ FRI on mimninomi 14) 15) 16) maomimAni omc 2356 25(Rs) » yo 3) t+ FLT PILL ARAL A. il 4) 5) 6) 7) 5 against 2 » 2) 3) 4) 5) 6 o) i FTF FTE | FAFA FA STR ATT) | ? 8) BIG ITI IT IG 9” 10) un) 12) BIDIFARICRNGI SR VATS | 13) uy 15) 16) FRAIOGIFA) FAL RID DAP | 26 omc 2356SIX-NOTE RHYTHM PATTERNS » 2 3) 4) VITA CK FRAT IAT 5) 6 ” 8) FITTRIITTA WITT FRAT 9 10) 4) 12) CAAT oi caa i aT 13) 14) 15) 16) LTT AT TY. FA 7) 18) 20) ai) 19) CARTS Br) aR 22) 23) 24) 25) 26) aT RRIFRT TRISH BT 2) 28) 29) 30) BIT ITU IT STUN STITH I TG 3D 32) WIFI ITI TTI 1 7 R6(Ro) » a 49S | MARL AMI 9 » TST LA TLS ll ‘ALS \ 6 ion LAL ALLL 10) LA ALAA ATS anid 5) o 7) 8) TTWITRI RD ITI) CAN ATI u) 12) DOCFR I FRR) BIR. Th 4) 15) 16) tl Ou TTI ITI Td s TIS EDT ”» 1») » > ITU FL TG ds STITT 20) 21) 22) 2ege8 ey de) DUG) QT Ee HE Td ol 23) 24) ITTF LE ETT | 28 come 2356SEVEN-NOTE RHYTHM PATTERNS. R7 » 2) 3) 4) 5) Va TTA FA A A ST) LAP 6) 7) 8) ”» CAG FTYL A i. SA A Ot 10) » 2 » A) RIAA ART Aaa 18) 19) 20) h “= = oe | FTE GTS | FT A y 2) FY FT FTL | ALSTTI FTI ALE 3) 4) 5) IIIA ITI ATT 6 7? VIVAL TR ETL LS LST Gl 8) 7 against 2 9) 7 against 3 3 WT rr TTT TTT! @® Ltt Ate t + @ ee Ae Ae F omc 2356 29(R7) » 2» 3) 4) ai AFAARITTINIT AA I 5) 6 7 8) PITEU FATT TU FA IT 10) 4) 12) DR IITL GRIARITIMT TITS 13) 14) 15) 16) som mmoninmnionm™m 17) 18) 19) I TG ab 20) 21) 22) 23) 28 TOMEI TTT de 24) 25) 26) SEQ THHITTII AA Tail A 30 anc 2356EIGHT-NOTE RHYTHM PATTERNS R8 » 2» 3 MIT FRAT FRA A Ar 4) 6) PRA PIPL FPF ORR IGT ” 8) ” FRA PST FI FR LPP IGT 10) uy 12) 13) ¢ STTGIT AA FTF SITS ITF ITT FT TT. » 1) 6 SITAR ATI ITA ITAA OA 17) 18) 19) TFTA ITI IIR FTF) V0 FRPP | 20) 21) 22) FITTV ATI FT TIT WIT A TT 23) 24) 25) 26) 585 595 IB R CRS am 2) 28) 29) 30) ai) CRORE eee omc 2356 aL(R38) 2) ty) AF i) AFTRIS lytA A | 5) ART |e FTF ALAA TAA FLATT LITA ITLL FA | un. fi. ARIA. 4 FFA 1) 98 7 ==. ee ee ere ‘SFR I = SS. rad 7? 8) 9) DVT FSI RAI RRA) 7 ITT ITRIIT TETAS 13) 14) 15) FTTGIT. VATTI ITN I I 18) agen nm iii nom LT FTII $TT) 19) 20) 21) 288 OT aImaAT om 32 ane 2356NINE-NOTE RHYTHM PATTERNS » 2) 3) wWBINMMIM IAM arm 4) 5) 6) 711 AITIN AAI STITT 7 8) 9) TAM CAM aM i oes 10) uy 12 ARPA IO Rian oh 13) 14) 15) i] FRAP oR OGRA 16) . 17) . 3 18) 5 TT FAR A 7 | PPA A » » 2» SSA ARS ORR Mc 2356 33 R9(RB) » 8 J70 mmimmmimmm 4) 3) TV T0 TT I mmm Imm 7 ” 8), ——__________________, 1A PPR Tp v 2) 3) 4) 8 CAAA RTA | A AT 5) 6) 7? 8) Freva ALD FART 0 Sa TIT 9) 10) 11) BAT TST ST ITT My 12) 13) FAM) ITT Ta IT Vg 16) 7) 15) ees CUTTS AIT IT TT) eelee 19) Tau Pdi GP STU 2a) 22) 288 TI THAT ITU ALELTT I TW SAT dil sd | aed amc 2356M10 DN ANTALAAN NAA 4) nanammi 7) NSAI 10) J F5RTO has 13) J 16) J 19) 22) J 2) » 8) 41) 14) OAR A 17) FRO ARAL 20) TWELVE-NOTE RHYTHM PATTERNS 5) A ° MAAR | LAR Nn Ama ch 23) TR 1. a iss mm 26) nl al. owe 2356 AAO OO RN) | 3) ARRAN 6) 9) immvninss 12) rrered m i 5) J APRS ARI 18) TAR FR 21) ARR 24) 27) RR(R12) 2) SSR 39) a my ina Than Fava! AFR 32) 29) 30) (RSC A 33) DPE SSS | = n soni seesen =- Pr = AAA ih == oS | VSO See ESE = Ol GR Waasch secs i seman. APA AAI 9) FTF TT | omc 2356 \ FFA AFA 36Note: The preceding patterns can be varied by substituting dotted notes: (R22) d IT) FFA can be played J ITD ID FFF TFET can te played £1. FFL FOIE. y ot STITT 10) nam 13) TUT ITNT 16) mmmm 98 AAAS FESS 5) 8 STG | 8) ” 10) SUT) FAG FAIA IDR OG » 3 | EFT ITF STI Tl 5) 6) 8) 9) | FTI AT ITT a) 12) nM TT 14) 15) LITT ITT TT TTT » 8) | ITT ITIITN LIT ITD CHS AS) SSS 6) 7) TT ATA IT) TTT 37R16 400 FRA PA SIXTEEN-NOTE RHYTHM PATTERN: y 3) Tl RRA 3) T1070 FR AAR 7) IT] FARRAR % rd na iiddadd 1) 2 ‘ 5 Wis TH ATH 13) 2 edsddce seece a SSS! eddddivdced i S 2) [SSSR 4) ITT AI FTTTrl FARA TTT 4 FAI FARA 10) mn oe o 12) THA ec ecsdece L » , SS SS Peed dddddsdddcce 38 eee » 20) fi TH FTTH FR ome 238621) 22) 23) 24) a 25) 26) 27) 28) 29) 30) Oo SES SR | eS 3) 32) DD SSS SS SSO 33) 34) 35) Na SSS) SS eee 36) 37) ; : ; 5 FRR OT FRR | GT FT 38) 39) 40) 4) 42) 43) ame 2356 (Ris)(Ri6) 1 Won GR SR ARISR SR SSS 3) » 2) {QO ARAAAAAILN AAA AS Thrhsrh Sasi chsh eas 5) ; 5 JOURN ATI 7 6 9 = 6 1 I) BRYA I A i 35 SercPrert Serrceccl icerchcericctcce 1 13) y 35 _ 35 CUR FAFA FF TAR AEE oa SS 40 omc 2356Ivan Galamian Frederick Neumann Volume Two DOUBLE AND MULTIPLE STOPS in Scale and Arpeggio Exercises Catalog No. 1.2562 GALAXY MUSIC CORPORATION «division of|I. SIXTHS I. OCTAVES Contents THIRDS Diatonic Consecutive Thirds . Whole Tone Scales Alternating This Extensions. . A B. c. D. Chromatic Major Thirds - E. : F. G. A. Diatonic Consecutive Sixths B. Sixths in Disjunct Motion C. Chromatic Minor and Major Sixths D. Whole Tone Scales .....- E, Alternating Sixths with Open Strings . A. Diatonic Consecutive Octaves. B. Octaves in Disjunct Motion C. Chromatic Octaves D. Whole Tone Scales : E. Alternating Otaves with Open Strings : F. Extensions . Iv. TENTHS ‘A. Diatonic Consecutive Tenths 18 B._Tenths in Disjunct Motion .. 18 c. Chromatic Minor and Major Tenth. 19 D. Tenths and Octaves Combined . “19 V. FOURTHS ‘A. Diatonic Consecutive Fourths . 20 B. Fourths in Disjunct Motion 20 C. Chromatic Fourths ... a VI. FIFTHS ‘A. Diatonic Consecutive Fifth. 2 B. Chromatic Fifths 2 ‘VIL. UNISONS ‘A. Consecutive Unisons. 2B B._Disjunet Unisons. 2B VII. SEVENTHS ‘A. Diatonic Consecutive Sevenths 23 1B B. Sevenths in Disjunct Motion IX. DOUBLE HARMONICS A. Scales in Thirds. .... X. TRIPLE STOPS ‘A. Diatonie Triple Stops in Consecutive Motion. B. Diatonic Triple Stops in Disjunct Motion. 25 26 “4PART TWO: ARPEGGIOS L mL, Iv. OCTAVES (Parallel and Fingered) ‘A. Major, Minor and Diminished Triads B. Augmented Triads . C. Diminished Sevenths : D. Dominant Sevenths and Inversions VARIOUS INTERVALS ‘A, Triads in Sixths and Fifths. . Triads in Thirds and Fourths. ‘Augmented Triads in Sixths mmoos Dominant Sevenths in Sixths and Sevenths TRIPLE STOPS aa inn ae ished Sevenths €. Fanh Chords QUADRUPLE STOPS A. Major Triads B. Diminished Sevenths ‘Triads with Passing Tones in Various Intervals . Diminished Sevenths in Various Intervals .. a cat 41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 (cale) part of this volume, most exercises are written in C but contain the note “Pra many exercises, where crucial technical problems are at stake (such as scales in thirds, sixths, octaves, etc.) it follow this instruction conscientiously. In other exercises, though, a smaller number of keys might meet an individual's 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 eause 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: AAMMMD TW ITT Groups of 8 notes: * fT Sa saaR AT Sceceeesesssees’ ® yA.) ID ST Ta Groups of 9 notes: ® IT TAD RTT LT Ty SH) STAT Groups of 12 notes: 2 DMA MATT SAAT im i fm Ty ST eR SAAT TnFor further variants see Part II (Bowing and Rhythm Patterns) of Volume 1 of Contemporary Violin Technique. The following examples, as listed in Bowing and Rhythm Patterns, are all theoretically applicable in this volume of double stop exercises. BI, B2, B3, Bo Groups of 6: RI, R2, R3, RO BI, B2, B4, BB Groups of 8: RI, R2, R4, RB BI, B3, BY Groups of 9: RI. R3, RI BI, B2, B3, B4, B6, B12 Groups of 12: RI, R2, R3, R4, R6, R12 In practice, however, only the simpler of these patterns will generally be found useful; and the teacher or advanced player will, have to select ones that are suitable for a given situation. ‘The exercises, though generally on a rather high level of difficulty, need not be forbidding to the less advanced player provided one approaches them by preparatory steps. One such step is to separate the notes of the double stops before playing them together (the first exercise of the book will serve as an illustration): Another approach is to practice a small section of an exercise first on one string, then on the other: a @ a) 23-3 FT — ? 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. ex. 2 x3 ex. 4 SS = - 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Table of Symbols Symbol 1, 11, IH, ete. o> pm av a0 Definition Ist, 2nd, 3rd Position, ete. Designation of strings; a single letter stands for the upper string. Stay on the same strings, Continue with the same fingers). Keep the finger(s) down. Reach up. Reach down.Part One SCALESI. THIRDS A. Diatonic Consecutive Thirds Groups of 12 notes (See preface about bowings and rhythms. ) Practice in all major and minor keys.* D} ery 1 2 oy x D D D @ oe ae! op 20 * (oy 5 — 7 u 1 1 } 3 $ ii 3 betes He we > » * @) K 8 K 5 & 8 (i ; ; 1 2 1 4 2 3 Led seteted, | ldeststsis) Leasdtetese} °O tna i y seme yp pseeue yy segue ig 2 segue VY 23 os 1 3 3) 1 2 SEES 2554845 hed i“ \* ‘- * » > 1 gsis £. | For example: B major F minor (harmonic) © 197 by Galaxy Music Corporation, for all countries, GMC. 1.2562 4 division of ECS Publishing, Boston, Massachusetts. Printed in USA.I/A/2 1 2 3 4 ; 2 1 2 x @) g Groups of 8 notes a Practice in all keys 1 1 } Bs i o3 4 2 1 ¢2+82 Stt4 a Practice in C, F, G, D- and A major. 31 1 4 2 y il ygsed S845 1 20 B. Thirds in Disjunct Motion Practice in all keys 2 2 2 A 1 ttisi,} ae) 4 3 Loa A D GMC, 1.2562 ao]4 u/c C. Chromatic Minor Thirds Groups of 12 notes Bey Two Octave Seale . The 0) A PUG ob a 1 3 2 a Asis 4 the duh yi GMC. 1.2562/D D. Chromatic Major Thirds Groups of 12 notes D only G 1 ; ca 4 1 1 3 3 iia 2 2 2 2 1 + = se Sriss =} 114 s erage 1 segue 14 3 see 33 4 seg Two Octave Seale ee 1 2 2 =] Stevth issih ied E. Whole Tone Scale Groups of 8 notes 14 gb yd 2 GMC, 1.25626 I/F F. Alternating Thirds With Open Strings Groups of 8 notes Four different fingerings are given. Each may be applied to the whole exercise. Practice in C, F, G and D major and their relative harmonic minors. only i a a a a i a i a i i a a 2 i - Gonly only, ° 2 pow ty 2 1d PR ae DEL dish shi pias 3 OE cay? G. Extensions Groups of 6 notes ‘1 4 1 a 1 4 1 34 34 3g a4 () q 1; This exercise may be A continued into higher & Keep Ist finger down through each measure. positions. Scales in one Position Groups of 12 notes B Practice in all keys. 1 3 2} } 11 ; j tai T. e 3 oe i Phage . This exercise may be continued into higher positionsIl. SIXTHS A. Diatonic Consecutive Sixths Groups of 12 notes Practice in all keys. D eves Preerere: 1 eet + ° eres 2°e eer 3 $92 "2 Ft secu 2 7364 23% G4 Boa 7 A D D > B D Practice the preceding exercise also with the following fingerings: D om, 2a $a fae 42 4 oe = FTE segue " 33 yi ise 32 3 3 segue euc 1 95898 W/A Groups of 9 notes Practice in all keys. ert. Ty 3 rf 7 $i fk ® 3 4 i a AK a 8 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. oor 4 4 4 on 0 2 1 of 2 = 1 ‘ tae: 5 Ste o i 4 da t253 aa pA (3) GMC, 1.2562W/A GMC, 1.256210 n/a FY minor: 4 Boe! we £ees GMC. 1.2562uw Disjunct Motion in Sixths Groups of 8 notes Practice in all keys. B. 2 2 2 GMC, 1.25622 n/c C. Chromatic Minor and Major Sixths Groups of 12 notes Chromatic minor sizths on two strings (six different fingerings) D G 22 2 segue iz 2 1 weg] ie z 1 3 i a D Chromatic major sixths on two strings {six different fingerings) Beaty @ c 2 segue GMC, 1.2562B Whole Tone Scales Groups of 8 notes n/D D. hen : 7 3 s z i Oo : e = £ i B ¢ na ge 4 g : oS fe = si ee Bs woe BPE lan = gst ence 2S wn = Sods oo 5 3 fz od gs en NE Es E. GMC. 1.2562ve Ill. OCTAVES ic Consecutive Octaves ton A. Dia Groups of 12 notes <2 faz Zac’ é GMC, 1.2562A 44 segue D A “Fingered” D 43 34354 hemow wer oe B. Octaves in Disjunct Motion Groups of 8 notes Practice in all keys; four different fingerings are given and each may be applied to the whole exercise. D only ¢ "44 segue ee tot at eele id $ FF seaue GMC, 1.2562316 m/B *, 4 seque ser errs 3 pei? OY etic” - * ttetee 2y 242 4 segue z “ 2 neg] nod % “Parallel” fingerings with #4 0r 44 may also be used C. Chromatic Octaves Groups of 8 notes D on B ony ‘344 segue ete 373 segue ae GMC. 1.2562Ww m/D D. Whole Tone Scales Groups of 12 notes 3 24 “+4 aoe K £. Alternating Octaves with Open Strings Groups of 8 notes Tresctice) also in F,G, and D major; each of the five different fingerings can be applied to the whole exercise. G $4 segue os 2. : oie i i i i i a a a ed = oe i 7 3 i F. Extensions Groups of 8 notes Practice on other strings as well, Sop S44 4 Osa 4 gat 4 4 segue saad ga4a$ $39 3 Soe Keep first finger down; third may be lifted. GMC. 1.2562® IV. TENTHS A, Diatonic Consecutive Tenths Groups of 12 notes Practice in all keys. D, Bonly Groups of 8 notes Practice also in A, D, G, F and Bb major. cit i leas 22 22 B. Tenths in Disjunct Motion Groups of 12 notes Practice in all keys. 1.256219 IvV/C C. Chromatic Minor and Major Tenths Groups of 12 notes B only a4 a4 be. obo D. Tenths and Octaves Combined Groups of 12 notes Practice in all keys csV. FOURTHS A. Diatonic Consecutive Fourths Practice in all keys and on the other strings. Groups of 12 notes Dp only Sy 2 213 2 212 4 3 2} segue ¥ 3G segue 45 4 Groups of 16 notes ro Des Noo INb=e Ibeos Rene ewe. B. Fourths in Disjunct Motion Groups of 8 notes Practice in all the keys. A 4 segue = 44 1 1 386 a o> pe ca D G GMC. 1.2562.2 v/B C. Chromatic Fourths Groups of 8 notes 1 segue segue GMC, 1.2562FIFTHS VI. A. Diatonic Consecutive Fifths Groups of 8 notes Chromatic Fifths Groups of 12 notes B. GMC, 1.2562.3VII. UNISONS A. Diatonic Consecutive Unisons Groups of 12 notes Practice in several keys. 0020 2 00 og D G o> B. Unisons in Disjunct Motion Groups of 12 notes Practice in several keys 1 | segue 1 ob ee ne 00 22 ae: & VI. SEVENTHS . Diatonic Consecutive Sevenths Groups of 8 notes Practice in several keys. A D 3 1 = a [bee brow 1 ergTs si Fo oD i 2 abo 4°Te 21" 4 A D 2 D B. Sevenths in Disjunct Motion 1 Groups of 8 notes ‘ ‘ 4 {3 Ag 4 4 cog f ££ tt bbe ws ete tet cra >a 4 3 = = o> oa ‘ GMC. 1.2562Ix. DOUBLE HARMONICS A. Scales in Thirds Groups of 8 notes Sounding g- = => 7 7 tte cee eee pitch s # - GMC, 1.2562X. TRIPLE STOPS A, Diatonic Triple Stops in Consecutive Motion Groups of 12 notes Practice in all keys Sample bowing patterns: 1 2 3 4 =e a] bana agee UN NEN ok iat a oy asp : segue a4 1 3 segue © tt \* | le | * » + > co Jesco omg) § o> GMC. 1.2562X/A segue ‘# The two fingerings may be mixed: use the 2nd finger when the major third, the 3rd finger when the minor third is on top. E 1 2 ‘ 1 at £e 4 segue a 2 2 2 2 seg D o2EsE SEs te2es, Py oe oe aoe 2 3 segue i B. In Disjunct Motion Groups of 12 notes Practice in all keys A dD, 4 4 a teoteate ‘4 1 3 II¢ Ie » Ie GMC, 1.2562Part Two ARPEGGIOSI. OCTAVES (Parallel and Fingered) A. Major, Minor and Diminished Triads Groups of 12 notes Note: In the upper fingering of this exercise as well as in all of the parallel - octave exercises, the third finger may be substituted for the fourth. E segue 4 * 1g? 2 24 i petite, i aoa GMC. 1.2562a8 B /A AEB - > gcc eMc 1 958930 1/B B. Augmented Triads Groups of 12 notes C. Diminished Sevenths Groups of 9 notes A 4 1 2 4 pees D. Dominant Sevenths and Inversions Groups of 12 notes mebeviitetitee + a Tt. merry PTT aT Fy i ist GMC. 1.2562GMC. 1.2562II. VARIOUS INTERVALS A. Triads in Sixths and Fifths Groups of 12 notes 1.2562Groups of 12 notes B. Triads in Thirds and Fourths /B i dl 4 q 7 ? = 1 2 : ta 2 4 ‘eis wer “6 GMC. 1.2562GMC. 1.2562m/c C. Triads with Passing Tones in Various Intervals Groups of 8 notes ang] q Sl “4 4 ne ng] q #1 4 1.2562m/c GMC. 1.256237 1/D D. Augmented Triads in Sixths Groups of 12 notes E. Diminished Sevenths in Various Intervals Peed Groups of 9 notes38 W/F F. Dominant Sevenths in Sixths and Sevenths cols =o4N oa! Groups of 9 notes @) GMC. 1.2562Ill. TRIPLE STOPS A. Major Triads Groups of 12 notes Sample bowing patterns: 1.256240 1/B B. Diminished Sevenths Groups of 8 notes (Bowing patterns as above) 3 segue a 3 2 1 7 2 C. Fourth Chords Groups of 8 notes (Bowing patterns as above) : 1 segue 5 C i 2 pe ig I 1 (1), 3 te ig (3)IV. QUADRUPLE STOPS Major Triads Groups of 6 notes A. Sample bowing patterns. A vt ould ounisls “tiny oan oul «isin “th “ 4d =4] == . ° + t SSS B. Diminished Sevenths Groups of 8 notes (Bowing patterns as above)