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PART
XII
ABTEILUNG
Inhalt.
XII.
Locating the individual tones of the by shifting the fingers into the po-
sitions in regular order-Locating the individual notes of the scale by shifting the
The double-stop of the octave.- Shifting of the individual fingers fromone position to the next, as1st finger.^.
Maniere de trouver les sons dans positions. Table des Matieres. Auffinden der einzelnen Tone derJbn- Maniere de trouver les sons individuels. aux leiter mit Rucken der Finger in die La- de la gamme en glissant les doigts gen nach der Reihe Auffinden der ein- positions par ordre de succession. Maniere Rucken de trouver les sons individuels de la zelnen Tone der Tonleiter mit desi Fingers. Der Doppelgrijf der Octa- gamme en glissant le Ire doigt. La double ve Rucktingen der einzelnen Finger von corde de roctave Glissement des doigts
s*
PARTLE
einer
Lage zur
cending and descending, through 9 positions, with exercises forthe fingers and for bowing.- Shifting of the fingers and placing them for the double-stops of the Third and Fourth in all positions, with exercises for the
fingers and for bowing Shifting of the fingers through if positions, skipping one or two positions, with exercises for the fingers and for bowingShifting of the individual fingers through several positionsShifting trollierender leerer Saite. Bogenubungen of the individual fingers on one string auf zwei abwechselnden Saiten Finthrough all positions,with controlling geriibungen im Umfange von4Tonen open string. Bowing-exercises on two auf einzelnen Saiten durch alle Lagen, alternating strings.- Finger- exercis- mit Stricharten. es within the compass of 4 tones on the individual strings through all positions, with various kinds of bowing.
abwdrts durch 9 Lagen, mit Finger-und Bogenubungen Riickungender Finger mit Aufsetzen der Doppelgriffeder Terz und Quarte in alien Lagen, mit Fingerund Bogenubungen.- Riickungen der Finger durch II Lagen, mit Uberspringen einer oder zweier Lagen, mit Finger-und Bogenubungen Gleiten der Laeinzelnen Finger durch mehrere gen. Gleiten der einzelnen Finger auf einer Saite durch alle Lagen, mit kon-
en descendant, par 9 popour les doigts et pour le coup d'archet Glissement des doigts et maniere de les placer pour les doubles cordes dela tierceetde la quarte,
et
en montant
1.
avec exercices pour coup d'archetGlissement des doigts par 11 positions, omettant une ou deiix positions, avec exercices pour les doigts et pour le coup d'archet. Glissement des doigts individuels par plusieures positions Glissement des doigts individuels sur une corde par toutes les positions, avec controle d'une corde a vide. Exercices pour le j;oup d'archet sur deux cordes alternantes Exercices pwr les doigts dans la limite de 4 so^ns sur les cordes individuelles par toutes les positions, avec variarites du coup d'archet.
en toutes
les positions,
les doigts et
pour
le
Locating the individual notes of the scale by shifting the fingers into the positions in regular order.
Maniere de trouver les sons individuels Auffinden der einzelnen Tone der Tonmit Rucken der Fingerin die La- de la gamme en glissant les doigts aux gen nach der Reihe. positions par or-dre de succession.
leiter
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Maniere de trouver
duels de la
8 Lagen
1.
gamme dans
8 positions
au
Placing the fingers for the Fingers. Anfsetzen der Finger fiir den moyen du glissement du ler doigt. Madouble-stop of the octave. niere de placer les doigts pour la douBoppelgriff der Oktave4 P -P & ble corde de l'octave.
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position to the next on one string, ascend- ner Lagezwn'dchsten anfeiner Saite, auf- position a la suivante sur
ing and descending through 9 positions, w'drts und abwdrts durch 9 Lagen, Fmger-und Bogenubungenwith finger-and bowing-exercises.
une corde, en mit montant et en descendant par 9 positions, avec exercises pour les doigts et pour le
coup d'archet.
Ruckungen des
2-Pos.
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1.
2. i i
Lage
Lage
frrrrrrT
|
frH rpr
i |
ffrrrrrf frr
|
fpf
| |
.
ffffrrrf
|
frfiff
4. P.
2.
Pos.
3.
Pos.
2-
Lage
3.
Lage
4.L.
ffffffft f f f
.
ftiMffff fc f
S.
m ^Sftigy
,
*
7. P.
Pos.
6.
Pos.
5.
Zoge
<"
6- Lage
7.Z.
#^
8'
* E E= =
8.
Pos.
9.
Pos.
10. P.
8. Lage
9.
Lage
p
i
ffrrfrff frf
i pf
9. ft
rrrrfrrf f r f
,
rpf
8.
iS.
rrrffrfr if r f
7.
Pos.
Pos.
Pos.
Zog e
Lag e
7.
Lage
###
'' f
I
6.
6'.
wmmmmmMm
e
*-
Pos.
5. 5.
Pos.
4.
Pos.
Lage
Znge
4- Lage
trrm? I f 1
Sevcik,Op. 11-XU
r#P
3.
ffrfffff
,
frf f fr rrrffrrr
, .
frf
r-fr
1.
* Z.ig*
Pos.
2.
Pos.
Pos.
2. Lage
i. Lage
/
6.
Shifting the 4th finger.
l.Pos.
1
1
11
Glissement du
4me
doigt.
2.POS
2.Ln,
I.Inge
i.Pos.
1
s.pos.
,
2.P0S.
2.
4.T.ne:e
3.Lnge
Inge
J,ujjjjju,jfiyjjjjj^p
4
3.
sul D.
1.
2.Pos.u
2.LngeS
*i
l
3. Pos. 3-Lngi
/ J JJ7TJ N 4
l.Pos.
^IS
4
4
**
P
rf
*wi ra
zz
4. Pos.
m
'
1.
Pos.
l.Lnge
IK
5.
mm
6. P. ff.Z.
Pos.
i.Lnge
5-Lnge
a g
f
ccrcEcr r Licccrccrr
Sf^
6.P0S.
,1-Lnge
y^f^ I
7.P0S.
prp
7-Luge
nrrrnw
8.Pos.
3.Pos.
iMfr
k
S^^
J
^
7.Pos. 7. /fl^e
2.pos.~
*
6.Lage
5.P.
5.Z.
J
_^4
11
3.Znge
2.Lage
l.Pos> l.Lnge
^S
o
sul A.
4^-4
_4
FIT*
2.Pos
2.Lnge
arfrfrfr f!
i
fffff^ PfefrFp(F
3.P0S.
y^#y =5*
Iff.
4.P0S.
s.pos.
6.P.
3.Lnge
4.Lnge
5.Lnge
6\Z.
frffrf fr f
i
f rnTrffr
,
O
5.P. .5.Z.
7. Pos.
8. Pos.
7.P0S.
6. Pos.
7-Lnge
8-Lage
_^4
7.Lnge
6. Inge
^rrr/rnrrrrrTtr i
4.P0S. 4. Zge
_(2_
> P *
2.Pos.
^
l.Pos.
3.Pos.
3. Zo'g'e
rrrcLCr
rri
4
2.Lnge
l.Lnge
sulB.
4
J2.
rrrfrffr f f
i
fffftfiy
f
J2
fftftfrr f f
.
frffffff
5.Pos.
11
Ml
l.Lnge
8i
l.Pos.
2.Pos.
s.pos.
4.Pos.
4. Luge
2.Lnge
J:
5.Lnge
f
6.pos.
BHt
7.Pos.
8 =E#- "^4
^
~ 4
m^
9.Pos.
s.pos.
6.Lnge
7.Lnge
S.Lnge
S.Lnge
&&*
i
#.1
frffrffr f f
frrrfrrhf r ff
i
1
6.Pos.
=!=#
*
5. Pos.
's.Pos.
7-Pos.
7.Lnge
S.Lnge
5-Lnge
*J
Sevcik,Op.ll-XII
t.Pos.
4.Lnge
3. Pos. S.Lage
2.Pos.
l.Pos.
2.Lnge
i.Lnge
13
Shifting the fingers
7
gen.
..)
i
from one posiGlissement des.doigts d'une position a Riickungen der Finger von einer LuPlacing the fingers ge zvr nachsten. Aufsetzen der Finger la suivante. Maniere de placer les doigts for the double-stop of the Third in 7 fur den Doppelgriff der Terz in 7 La- pour la double sorde de la tierce en 7 potion to the next.
positions.
sitions-
._
_ m
^
m
m m
7
2.p6s.
l.Pos.
2.
S.Lage
Pos.
1.
Lage
3.
Pos.
".Luge
3.
Lage
I^J* *
*z+
PI
i %.
4. Pos. 4. Lage
1
i
'
? a
c^iJJ^jfiW^ J^
i
5. Pos. 5. Lage
r^
^Sl
6. Pos.
rrrrrrrfiJ
rfnrrpirp
7.
rrrrrrr r
7.Pos.
r rr
&
Lage
^
fel
1
6. Lage
&=&
6.Pos.
6.Lage
mrm m r
5.
Lage
2.
Pns.
'
^
if'Zeigt
3.
Pos.
4.
Lage
3. Lage
a ?iaPd?
\
\m"
5Ujj^
^J
jJ
J,
Zagemoechsel an
*TIndiqvie
changement de position.
8.
Shifting the fingers from one position
to the next.
13
Riickungen der Finger von einer Lage Glissement des doigts dune position a la Placing the fingers for the zvir n'dchsten- Aufsetzen der Finger fiir suivante. Maniere de placer les doigts pour double-stop of the Fourth in 9 positions, den Doppelgriff der Quarte in 9 Lagen, la double corde de la quarte en 9 positions, a beginning on each step of the scale. vonjeder StufederTonleiter ansgehend- partir de chaque degre de la gamme. Avec Mit Finger-und Bogenubimgen. With finger- and bowing- exercises. exercises pour les doigts et pour le coup
i.
3.
d'archet.
A
1.
l.
4
3.Pos. 3. Lage
OTirJ
J
6.Pos.
6. Lage
i.
3)
p $ P
4-Pos.
4. Lage
n^n?
y
7.Pos.
gg
S.Pos.
xi)ijn
*=PZ
^ ^lr
jui^n
rrrrfrff
i
H'JjB i
7.
^
i
5.L.
S*'0J*J
'l
6.P0S.
O'.L.
Lage
jgum
q-*i
s.Pos.
5.
n-^z
o *>o
4.Pos.
izm *?fd
"4 3.Pos. 3.L.
Lage
4. Lage
gig
2,
a.
r^_
1
7T
^r^' f f ffrrfrff if r^ #^
i
2.P0S. S. Lage
1
3.P0S. 5. ZrtgW
i.PoS.
frrfrff i^r^ f
i
fifrrrr?ff^r^
5.P0S.
5. Lage
^p
rffrffT irf
-
<2
P4>&
5.Pos.
6.P0S.
6. Lage
5.1.
rfffff> rn
,
&L 2
rffrffr,rf
rffTfrr
,
t.Pos.
4. Lage
3.Pos. 5. L.
rtfftrt rf
,
=g
S.Pos. 2. Lage
1
3
'ttd-,.
^/
t.
U-D UJJ
l.Pos.
'
'
'
' I
'
I
'
M
3.Pos. 3.P05 .
3. Lage
'
'
'
UJJ
'
U ~T1
l.Lage
ff
5.
ffrffrrf
ffif*
6-Pos.
4.P0S.
4. Zngtf
5.Pos.
Zn^e
6.Z.
7.Pos.
7.
5.Pos.
6.
Zagtf
Lage
a. Hi
tTfrfffT
ffrirf
ifffrffff
#
rfe
34
f
Si
i
HP
*)
PC*
4.Pos.
4. Lage
HP &
a
1
rJ
3.P.
_2
j
pz ga
cpi
2.Pos. 2. Lage
*) Die Quadratnote xeigt an,
die
fe hiiuisuL ^
v
r-
Z2=Z2
<S
<S
l.Pos-
1.
Lage
The square
*)
La
position
must be changed.
evcflj,Op.ll-Xn
1
14
'
M*dJ
l^&rrtfZf
i
i.Pos.
j
rj
"
fj
gJbe
4.Pos. 4. /
2.Pos.
-2. Luge
rcl^
?2
i
rr
3.
r'r
^Ef
i
.f^ffffff^fP^! e
fFfrfff
7.'
.
I-
1*
.,
ffrm f fr
.
ffWf
fr
Zn^e
f^
I^N
"
&
.
Fr
ft* Z.
6.pos.
|f
f ,ffffffff fff
|
ff fffffrff|ffr ,fr
| i
7.pos.
7.
6.P0S.
6'.
5.P.
Znge
ZffgB
5.L.
m
LV
\
ffffffff
fFf
r
-a.
:s j2
cttrcr.rfirrr
m'm m
rtg
4.P0S.
4. ZflgS
1
|
^ p-Fir
P^i
/
/
LP. ,?.z.
P mm m\
'
If-
1 I
*
i
z
I
*
l
';.
I
,1
r;
za
3- Pos.L ~- Lage
i.Pos.
i.
Lage
~
4.
\
g^
/<
rj-
\s
L* *'
ft
v
1
ft __
m
2.Pos.
f~" m
k^J
f m
|
(g
1
*=P=f^ -LI&
21
:S*
:=\
~^ m m m *
2
r-fS> <3
19
3.Pos.
3. Lage
4.P.
..Lage
4.Z.
li*l^.1 -F
UUPi
O
6.P.
<frrrr?ffrnrrr
5.Pos.
5.
zarg pljfW
Lage
6.L.
0-P-0rlmP.
t-^P
i2
1##^1i
o
i
a
,
Pfrfffff PfP
1
7.
ffPfffff ff 1
1
3.
FfffPffP Pf
i
%
9.P 0.Z.
Lage
8.Pos. Zffge
s.pos.
y. Zng-<?
7.P0S.
7. Zflgf;
6.P.
6.L.
p. 9-
&
2:
Kffftife ,ffr
'j
i
m
zmz
?T3
1
P=ft
("J
-73-
1"*
=rrz2^==sz=22
s.Pos.
a. Zflg
ft
f-yi
*==
Lage
QS
age
Sevcik,Op.ll-Xn
2
:=1
15
Oi X \Zi_e 0. A
3
p
ff
:s
i*
>
s H * <9
11
=^4-*4^ -j
&&
g
m.
2.Pos.
2- Lnge
m.
-e
^
(S
&
1:5:
P-p-P
%
#--#
msm O+-0-
a.
(S
a.
Psf-P
|;ft=
Zffgtf
ft2
1*3
a
P-0-F-k
6.Pos.
(95^-
tfW
tS"
t9-
7.
K.Z.-
***>-
n
.
2
;
:z :=
EC
1*
-is-
H
.
i9
i.Pos.
9-Pos.
9. Lnge
10. P.
i S*
3.Pos. 9. Zng-e
8.P0S.
8.
Lnge
7. 7.
P.
L.
* *i
#==
^fc
2.
m ^~0 -*-#-- P
^^ --
i
2
1
(9- -|S
:-: 6.Pos. (&) 6. Lnge
m s~bP
P~Z
5. P.
5.L.
m
p-p-p
p-*-r?
9
4-Pos.
4. Zftg'e
3J^ JU
J
3.
<9 P.
J.Z.
i
"SJ
I
<9 a.Pos.
++-P *tJp
l.Pos.
whPshP
^
i
6.
fo
t'V
<*
I
NJJ
l.Pos.
j J
^^ g g
* J 4 J
3.
P]
J^
Ji.l
.l
.1
3. P.
2.Pos.
l.L age
S.Inge 3
&Z.
^
4^>
b''!>
JjJjjjjJ
a a a
4.Pos.
4. Inge
S
i
zrrzn:
#r^
35
e.Pos.
7.P0S.
7.
^
8.P.
|
Zag-e
rrrrrffrTrr r
i
r-
a
7.
* f?rfr] >T
1
19-
3
r^
1
#>N
jg
izv
g^
119
7.Pos. ZffgB
6.Pos.
ff.
S.P.
Lage
rrrr prrr r^
2=s:
^S
ra
p
a a
4.P0S.
4. Lage
i^
P &
a a
3. P.
^
Sevcik, Op.
S.L.
# **
&
2.Pos.
22
Stl.Pos.
1.
2. Lage
11-XH
16
l l
l
l
^i
frrfrrf frf f
i i
0.
idlg
2. Pos.
f)f iff
3. Pos.
"4
l.Pos.
i.
S.Inge
3.L.
Lage
frrfrrf frf
i
ff
4. Pos.
S>
1&
Pos
5.
4. Lage
5. L.
fr
r?
f? r r
1j
M^
(-
S>
(&
^rrfrffrr
m
J J
4.P0S. 4. Lage
3.POS.
3.L.
rrfrr ff
i
19-
2.POS.
2. Lage
m t=*
i 3
J
I
J
3.P0S.
3. Lage
*3*
3=3!
^
r
1
III
i.Pos4. Z.
yrf
j j
,j
j
R.PoS.
HT]^^^
f j
5. Lage
m Trrtrrt
i
r
1
if
f f
e.Pos.
6".
M^
r
#E
7.
7.
Pos
Z.
Zg
f>
ff
8.P0S.
8.
|f
7r
f
i
7^
I
-
1&
9.
Pos.
Lage
9.L.
rrfrr
ff
tS-
(9
fe
e
7. 7.
8.Pos.
8. Lage
Pos.
Z.
rffrr
ff
6.Pos.
lAt
6 Lage
.
ff
a. -s
st
5 Pos. 5, Lage
rffrr
ff
>
[&
rnrr
r
i
iff
a*
-S>
(9-
4. Pos. 4. Lage
3.
Pos.
5.Z.
^ r?rrrrrr
Sevcik,Op.
rTr
if
rrfrr rrr
if r
1.
irrf
tS
2. Pos. 5. Lage
l.Pos.
Lag,
11-Xn
9.
Glissement des doigts par U positions, Riicknngen der Finger durch 11 LaShifting the fingers through 1J positions, skipping one or two positions and gen mit Uberspringen eineroder zweier omettant une ou deux positions, a partir beginning on each step of the scale. Lagen, ausgehend von jeder Stufe der de chaque degre de la gamme.
Tonleiter.
2.Pos.
S.Lage
l.Pos.
3.Pos.
3. Lage
4.pos.
l.Lage
v-+
-.
^.p
fr
1
l.Pos.
7.
0-
Jt-Lage
1
#
4** 4 * 1
*
i wm
I
~
Lage
6 .Poa.
6.Lage
i
N
&.
1
p
1
g
2
1
1
.
p.
m
l.Pos.
6.Pos. 6. Lage
ggg
tm.^
O,
4.P0S.
S.Pos.
3. Lage
i.Lage
J J ^J J *
.|.Pos
Zog-e
fj
.
1
frrr
a gg
i
rr
f*-F
r 0-
1
-^F&
l.Pos.
1.
I
Lage
S.Pos.
.5.
l.Lage
14 * m
>
a pk
Z<7g
frfr
-1
jJ-LJiJ_.
i
l.Pos.
i ^#-* gg ggggpggg
g! =g|.g
Pos.
0.
\
^~
0rf-0
-^Pe&
7.
I
1
Lage
7. 7.
Pos.
v1
Lage
s.Posr
5.
s
,J
4. Pos. 4. Lage
'j
1
ffi
rr
Trrr rrrrrtr fi
i
l.PosT
Lage
5.
l.Lage
Pos.
f^h
6.
u
Pos.
6. Lage
N
s
d ^
jy*^
j r J * J
fi.fL-f-0.fL
=c=
p gp.
f-ffrf
s.Pos.
5-
SOS B
JWJ^*rf=t=3 1
*s
m
p *>p
f t
s.Po s,
8. Lage
9.
Pos.
a .*#: # =*
8 .P03.
-J-
He
6.
4J 4
Pos.
6.
jj niLj j m *4
wel%
l.Pos.
Lage
Lage
fL
rfrr
i
rt
22
SeVcik,Op.ll-Xn
7.P0S
7. Lage
tf
J Jl
3. Pos.
^S
1
2.P03.
S.Lage
43-
.1
cccf Cf f r
f cf
3.Lage
8.P0S.
8. Lage
3.p<>s. 5. .<7g
*-~.l
rrrrr-ir
4.Pos.
4.
Lage
tLiMr
r
i
^
2.P0S.
S.
i
J r cf +;
Lage
r frfrff f
ffrfn i
|
122
l.Pos.
1.
Lage
>mP
-P
f*-f
f f?fffff
4 .P0 6.
4. Zflgtf
ili
rrlGirdlrir
i.Pos. 5. Zgtf
St-P-OBt
9.
Lage
/f*:
^
t
'.Pos. ii
^X^
s
.jiff
dlrirrcJr
8.
P P ffPPfFff
i
f^f
IE
9. Pos. 5. Zng-g
^ri^
l.Pos.
Pos.
#.
Lage
cj
rr
'
5.
Pos.
f iffppfpff iff
,.
,
Pos.
^i rfi
2.
rimriLrirr^ P
l.Lage
5. -(7^6
Pos.
2. Lage
*-*
*-4
J i J ix'4
'
19
10.
Shifting each finger through 3 positions.
1.-3.
Finger durch 3
4
'
Lagen.
o
1
Pos.
2
\
2
'
1.-3.
1.-3.
Lage
Pos.
iU {U
1 I
jjbP
^
4
4
e)
11
'
o,
f~*
1
j.
2
'
jjj
n4
'4
jiij'^Jj'JJ
^
1 1
* *
i
1
1
3,
S
*
ZSt
SHEf^
'4
3,
tat
*
#
i
4
T"*>
F p
^
,
==
I
i
E
2
2
3 3
I
4
i
2
i
^
#
#
3
r ifTr
4
fTf
3
3
te
4
4 4
fff ifrr
44
2.-4. Pos.
5.-4.
r
i
33
o
1 1
rr r7>. fffr i^ r rf 22 11 22 11
|
f^r 33
22
"
1
1
1
U
2
,44
44
33
'
UJ
2
3 3
122
s
4
4
o
1
p^i
1
^% ^
4
11
iJ
14/ti
2
IS
1
i
2,
|
zz= P *
3
4 *
_4
^2
Ta 3
a 3
=*
^
2
3
3
i
11
J
2
|
.3
J-f
3,
? *
IS
J J_J J_
fJ
^^
1
Pm
0-P2
3
ill
m
4
3
1
m
4
i
t)
B
i
1
00
2
*-
m
4
i
ii
111
i
rrf
f
o
fr fff ifff
i
*
4
^
4
r^r"?
111
f ff r rf
22
ff
3
FP^
44
Sevcik,0p.
U-XU
20
3.-5. Pos.
3.-5.
3.-5.
Lage
pos.
Q /Ci* -m**
i i
iW
2
2
4 4
4,
#
3,
,
===
*
1
1,
^g
"
i
2
]
'
h
P ZjK
4
(J
i1
s:
i wm
r"j
dy
!
1 ^-*
j7
s
4
|
r a
ite^i fP?
tea
i
'3
'
4 4
313
i
?J
f 2
s
1
U'JlJ^rJ
W
1
^ ?Pf
I
1 1
1
Mi
2
4 4
^fff
4~4
&L
ifr? irTr
%~%
2
2"
r 11
T^#^
33
2
iifrr? ifrr?
1
1
frf
3 3
,
2~
M
4.-6 Pos.
4.-6. Pos.
l
T^fLQ.
*:&
33
111
4444
2
m m fm
i
ii
ff ft f?p> f?fi
2
,
22
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l
l
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ll
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ir
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33
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f
i
44
44
l
l
33
2
11111
ii
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Pos.
5. -7.
Zagv
Pos.
5.-7.
Pit
1
,
*
i
<q#
4 4
3,
3,
2 2
^
3
3.
22
33
2,
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Sevcik,Op.
-XII
21
11.
Shifting the fingers through 4 positions.
1.-4.
1.-4.
Qleiten der
Finger durch4Lagen.
2
2
2
3
Pos.
Q
/L
[)
l* y/
11
2
l
Laee
Pos.
1.-4.
jji'^jj ji
4
4
f^
2 2 2
* d m
a?
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3
o
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1
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f
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11
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3
feN
ft=d
M
1
ft
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122
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o il
4
1
1
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4
s=
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1
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3
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3
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sr
i i
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i
l
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f
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i
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fTf fffi
14
f ff
4
4
1
f
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r^
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r^M
1
iJ
J
Sevcik, Op.
11
f
2
f f
feJ
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-Xn
22
2.-5. Pos.
2.-5.
-
shift gleiten
glissez
Lage
Pos.
.Q._
l
|
,
,
2
,
ri
2.-5.
WJ^J
1
__ 4
2
l
p^f *=*
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p
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o
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m
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m
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41
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1
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i
t)
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1
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3
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a
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3
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4.
3.
r
4
f rr
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for
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1
4
1
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:t
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2_
&
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i
i
W-
4 4
feJ
XII
24
shift gleiten
glissez
4.-
7-pos.
4.-7.
7. 4.-7.
~
Por. Pos.
6
w? =Sp=
^
1
W
i
l
i
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p.
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4
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4
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3
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2
J2
FF>
f
r f FF
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fr>
^
1 1
1-
p-
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i=
Xn
25
12.
Shifting the fingers through 5 positions.
1.-5.
Qleiten der
Finger durch
5 Lag-en.
JL-
Pos.
*
(L
(
i-5-Lage
1-5. Pos.
m^'J
1-
j 'jjj,j
segue
3 3 3
'
y
2
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2
jps ^
21
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l
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1.
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in
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ra
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i
Swcik,Op.
11-
XII
26
IV..
2.-6.
Pos.
Q
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111
11
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3,
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2-6.
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2-6. Pos.
W
4,
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p. '
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Sevcik, Op. 11- XII
3 3
^
J=
^^
42
27
IV
3. -7.
segue
1
1
Pos.
3.-7.
Lage
Pns. Pos-
Q
(
.
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m=St
2,
2
1
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i
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at
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i
4
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28
Shifting the individual fingers on one
Qleiten der einzslnsn
sur
une corde par 8 positions, avec controlling open string. Bowing-exercises leerer Saite. Bogenilbungen mifjSabwech- trole d'une corde a vide. Exercises pour le coup d'archet sur deux cordes alterselnden Saiten. on 2 alternating strings.
natives.
8 Lagen,mit kantrollierender
13.
Qleiten einzelner Finger von einer LaGlissement des doigts individuels d'une Shifting the individual fingers from position a la suivante. ge zur nachstenone position to the next.
On
LL 4 EE
loollool
*
loollooi
loo
o
o.o
V J-
* *
w
Too
-d
_ r^Ttm-j
o o
loo. loo
loo
1
loo
m w-w =?
1
i^$
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1
=+
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o o
loo jJ J=i=4
loo
J)
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loo
$
il
IW
2
loo
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loo
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2
Q Q
"
JJJJJJi
2,
1
2
o
PH
2
o
2 =
p
2 o o
3.
J.
-J ?
#~
o
=
o
T
o
2
-~-_L-^
2
3
*~r
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*/
o
2
# #
5 *-*
2
o o
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2
o
I
1
J J J J J J J l
Finger- 3 me doigt. a o o
^
2
3
3
W^
o
o o
3
rd Finger. o o
3.
3oo
f
o
3oo
o o
J3
J J.J- f
o
f *
o
o
3
S
3Q0 ^ *-*
3 3 3
I
o
o
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0~W
3
3-#-#
3
o o
::
3oo
00
^
o
Ps
4-.
JJjJJJ
4.
JI
,T3
TJJ-JJPI
4
o o
4 th Finger
o
o ~4
Finger. o
4 me
doigt-
4oo
4 o
o
p
4
o
*r-
o
*
4
o
;jTJjjjjiy77^jju
400
sE
o
o
1
j
4
jj
o o
jjj
400
4
o
00
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4
o o
+*
400
Sevcik, Op.
11
400
"C
-^ *- W-r f
'^
4oo I
* T
n n
ki\
-XII
13On
the E-string.
i i
29
Auf der
Fr.
E-Saite.
1.
1 Sp.
V_
l i
=g}
r r r ooool ool
l
i
i
=gzfz
1
2.1
3.1
2 2 2 2 2 2 2 loo loo loo too loo loo m s 2 loo m loo s^e* m loo loo ^ 2 s 2oo 20o 200 200 > JJ 2 5B 3g 2 2oo p^p 2oo IS 2oo 2oo s pM ^ s 200 s 2oo 2oo 2oo m 2oo' 2oo r+ 2 S 2 2 ^ LuJ Lei 3oo 300 3oo 3oo 2 3oo. 2 3oo 3oo H 2 3oo 3oo 3oo S 2^ 2 3oo S 300 t^3oo 3oo 3oo 3oo 5B 3 ^Ff g 2 3g 2 2 3oo
#.
loo
^
i
^? tool
m
1
foo"!
Pool
i
l
#f
lo
cjlj
*=*
o
o
2.
r r
'
r r
2oo
rr
g-CJ
lt 2o
oo
3o
00
r r
'
rr
o -o
3o
_1
BE
4
o
o
2 2
o
O-
4o
4oo
iS 4oo
400
4oo
S
1
S 4oo
r 40
1
4oo
r 4oor
^m
30
135
On the
(the
A-string.
(die
ay
*fc "
&
*
.
i
l
I i
l
- f
O
- P=W {-
O O O
^s
loo
{
1
ben.)
a im
o o
1
mmmmmam "mm
i
o o
o o
obi
3.
Cr n^ rrrfrrrf i
i
o o
Tool
i
o o
rrrrrrr
loo
m m
m-
m m zfi
lool
loo
rr
loo
*~at
^rrrr"rTMIrg^gg
1
2.1- _
2.
2^
o o
2 o
2 o o 2
2 o
*t r
2oo
"T
t
rrrn rr
2oo
o
2oo
^e 2oo
, '
0-0
200
.
2 o o
2-
o-
2oo
2oo
2-
o o 2
2oo
0-0
,
,
spiccato spiccafo
i
300
i
PP
* P
3
'
*
o 3
P-^r> ^W*
300
300
m
3oo
3oo
4.1
4 o o 4
m? 3oo
f -\ r* -m0
3oo
3oo
fU
i^"/*:
-
mmu
On
u
1
rrrrfMirrrrs 3003300
4 o o
* _zry-y
4oo
P
4oo
apE
400 400
the D- string.
1
400
Si 400
rr
P:z:~
0TM
400
n s 400 4oo
'
Ik ff^ ;- *\
"l* .M:
ry
*:=^__*
400
400
400
132
Auf der D-Saite.
I
fo
1.
1
I
L_
I
_-
f[
o~
?-? ol
1 1
^^g
r^i L
drr-z=* 7
o
1
o o
1"
"l
001 1001
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i
r Cr
lool lool
I
Ccj!/
$
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^
1
J J
o o
JjL^J
I
J
1
j J J i= O O ^
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o o
B J3 jg
2.1;
II
o o
J J i J J
2
o 6^-
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3q
ft
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200
m.
I I I I
200
I
2o
I i
*
I
f;;rp rP rl.jJ5jjjj|jjjjjj 1111 2 o o 2002 200 2 o o 2oo 2oo sfo o 2oo 2oo
'
I
1 I
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3.
i
I I I
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1
1
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3
3 .O 3 sjriccafo
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1
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300300
3003
ate
apK
300
w^
.
P= = =p:
3
o o
1
o o
300
300'
*-
00
p
4004400
00
I
4 o o
400
400
jt
7f
-? #
400
400
4oo
00
400
Si
14.
31
Glissement des doigts indmduels en Qieiten der einzelnen Finger in die Shifting the individual fingers skipping over one position with a controll- ziveitndehste Lagemit kontrollierender omettant line position, avec controle d'une corde a vide. leerer Saite. ing open string-
On the
/)
G-string.
l
P-^
Fr
looilooi
Auf der
G-Saite.
looiool loollpol
J
o
.*_: jiJJi
'JJJJJJ JJ 'JJJiJJJ^J
0*/00 1
loo
loo
loo
loo
5
loo
1
m Wy
loo
m
o
00
1
m=^m
1
1
loo
^m
"
o o
1
1
mm
2
o
loo
loo
loo
JJJJJ) 7
o o 2 2 o
.2.1 6 2
J J
2
o
J.
J J J J
2
J.
J J
o o
J.
\J0~*
o
J"J f J
2 o o 2 o o
5
^
PP
2 o
o
m
2
V
o o
*
2
'
J
l
'
o o
JJ
o o
JJJ
2 o
o
2 o
2 q J.
2
'
5 00
O.
2
* _J J
3
'
^_J J ^ J_J J J
3
_J J
3
J J J.
o o
*N
3
J J
o
JJ
3
J^
o
JJ
spiccato
3
J.
^
3
**#"*
3
PPi
v
i
5
3
f J J *
3
a
3
^=^
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3oo
o
#
3
5E
*
o o
5g
o
3
1
jy
JJ
o
'
P=^ -^
J v f
T?
300
T
4
3oo
*-*
3oo
7 *
3oo3
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4
o
I
300
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1
f
o o
*
1
JJJ
400
4
o o
JJJ^
4
o
o
1 4-
&
4oo
4oo
400
~
4
o o
*
o o
t
4
o
o
i-*-0
400
S 2=2=
400
S
400
4oo
4
o o
400
T"
S 2=2=*
Sevcik, Op. 11- XII
"
400
I
o '
*-#-
^J'JJJJ
jJJJ JJJ) 7
32
14?
On the
1.
E-string.
-i^- 1-
Auf der
^egve
E-Saite.
'.
>
m m
I 00 llool
w~w
loollool
a=p:
S loollool
w~w
1
yy i loollool
p
s loo
loo
1
pp loo
loo
^^
1
loo
rt
1
SE
O
O
loo
loo
t loo
f
loo
:
^ w
1
loo
^
2 o
O
2
o
o
=
2
o
E
o
&
2
o
p..
1
o
y
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4
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o
11-XH
4oo
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On the A- string.
Auf der A-Saite.
Fr.
33
M fe
*ft
"1
1.
Sp.
,;
y
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SevCik, Op.
U-XH
34
14?
On
the D- string.
1.
r-
Auf
segue
der D-Saite.
Sur
la corde de Re.
4i E
o ~~/<
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o o
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15.
Finger-exercise within the compass of
35
litnite
positions
Fingeriibung im Umfang von4Tonen Exercise poiir les doigts dans la with durch die Lagen mit Veranderung des de 4 sons partoutes les positions, variantes du coup d'archet. Bogenstriches.
avec
and
A major.
mmmmmmmm
In C,-B-und A-dur cmzvfiihren.
Auf der
E-Saite.
A exe"cuter en Ut,
et
La majeur.
-----
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j pf
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i *
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)
angegebenen Tonart
durchspielen.
36
On
iii
the
w
string.
major.
C,
P and B
C,-F-und H-dur-
fiAiiM^^ffEfrirrrri-TrTrr
4
P=S*
g
i
j 1 ij f r j frf f | frff ff
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Seveik, Op.
u-xn
15b
On the
in C, Bl>
37
D-string.
and
A major.
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3
te n^wi
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.
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a
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38
15?
On the
G-string-.
1.
l.
Auf der
in
Vt
:
^ y MuJlPW
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l
la.
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Sevfik, Op.
U-XH
16.
39
Exercice dans la limite de 4 sons par 8 jjbung im Umfang von 4 Town durch Exercise within the compass of 4 notes through 8 positions. The 1st and 3rd 8 Lagen unit Liegenlassen des 1. und 3. positions, Le ler et le 3me doigt restent Tonarten pose's stir la corde. A jouer par eoeur en finger remain on the string. To be Fingers. In verschiedenen played from memory in various keys, auswendig zu spielenunddie Viertelno- divers tons, en nommant les noires a haute voix. ten hut aufzusagen. naming the quarter-notes aloud.
etc.
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Sevcik, Op.
n-xn
Abreviations
et
Signes.
Division de l'archet au
fractions
i
moyen
de
Bow by means
i 1
of fractions:
Whole Bow.
Half Bow.
First Half.
Ganzer Bogen.
Tout l'archet.
z
i.
Halber Bogen.
Erste Halfte.
l 3
1.
Demi- archet.
Premiere moitie.
5
i.
3
3.
3
1
Second
Half.
Zweite Halfte.
Seconde moitie.
3 2 3
1.
One Third.
Ein
Un
Two
Thirds.
Zwei
3
1.
Deux
First Third.
3
3.
Erstes Drittel.
3
3.
Premier
Second Third.
Third Third.
Zweites Drittel.
Dfittes Drittel.
3
3.
Deuxieme
tiers.
3
i
3
1
Troisieme tiers.
4
3
One Quarter.
Three Quarters.
Ein
4
3
Un quart
a,
de l'archet.
i
1'
4
1.
1'
I'
I" I'
4 4
3. 3
'
Quarter.
Bogens.
4
3
'
Deuxieme
Tirez
troisieme quart.
H
V
Down-bow.
Up-bow. 1 )
n
V
Heruntetsfrich
n
*)
Hinaufstrich
Poussez. 1)
Broad Bow.
Short, detached (staccato),
Largement.
Bref, martele (staccato).
hammered
"
(sautille;
)
(martele)
Springing, bounding,
spiccato; saltato).
Springend, geworfen
spiccato)
(sautille';
"
Sautille (spiccato).
Lift Bow.
Bogen heben.
(Luftpause) 3)
/ i
Levez l'archet.
/
I
Kunstpause
Kunstpause
(Luftpause) 2)
Kunstpause (Luftpause) 8)
Premiere corde, Mi.
First String, E.
Erste Saite, E.
Zweite
Saite, A.
H
HI
Second String, A.
H
HI
Deuxieme
corde, La.
Third String, D.
Fourth String, G.
3
)
m
IV
o
Dritte Saite, D.
Vierte Saite, G. 3 )
IV
o
IV
o
Quatrieme corde,
Corde a vide.
Sol.
3
)
Open String.
Leere
Saite.
Sul E,
l
Retenez
le le
The
M.
Fr.
little
finger
is to
Liegenlassen des Fingers aufwelchen das Halechen zeigt. Mitte des Bogens.
Retenez
crochet.
M.
Fr.
Milieu de l'archet.
At the Nut.
A?n Frosch.
Au A
talon de l'archet.
Sp.
An
der Spitze.
Sp.
la pointe de l'archet.
1)
3 Lift Bow and mate a brief rest. ) 3 ) No practising should be done on strings not true in the fifths.
Ohne Bezeichnung der JHchtung beginnt der Awfangstakt iminer am Frosch. 3 Bogen heten und /curze Pause machen )
*)
1
Paute d'indication speeiale on commence la premiere mesure au talon. s) Levez l'archet en faisant un bref silence.
*)
3)
On
ment
OTAKAR
OPUS
SEVCIK
II
ARRANGEMENT DES
MATIERES.
Partie I
Ila
Introduction to the
1st Position.
IV
"I
1 I
Supplementary*
rhythmic
IIP
111
IV
VThe
Major
Scales Pieces
Einjuhrung die Lage. 1. Lage. Lage. Nebenbei Lage. vorzunehmen* Lage. *Abt. VDie rkythmisierten DurTonleitern Abt. Ila und Vortragsstiicke Lage,
in
erste
1. 1.
lib 1
III
1.
IV
aits
lib.
fl.
with piano. 2
"
Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin -to
the 29 Duettinos from Parts
I,
Ila
and
" "
lib.
-~Einfiihrung in die 2.-7. Lage. Dazu: Abt. lib, III and IV, sovjie die zweite Violinstimme zu den 29 Duettinen aui Abt. I, Ila und lib.
Position. { SupplemenPosition. taires.* Ire Position. J *Partie Les Gammes majeures rythmiques des Parties Ila et lib. Compositions (Ire position, Degre I) avec piano. 2 Introduction a la 2me-7me Po|
Ire Ire
sition.
Matieres
supplemenIV;
VIa VIb
2d-7th 2d-7th
2d-7th
Position. Position,
Via VIb
2.-7.
2.-7.
Lage. Lage.
\
)
Dazu\
Weisen
in
f40
bohmische
Lage.
der
Via VIb
Positi< sition. \c
Matieres
tairesf
Position. sition.
Supplemen-
2.-7.
Vic
VII
40 Bohemian Supplementary: Parts Via and VIb. 2d-7th Position. Supplementary: Part XII (Introduction to ShiftPosition.
Vic
VII
2.-7.
Lage.
Wei-
Melodies.
sen.
Dazu
Vic
VII
VIII
2.-7.
set).
Lage.D azu
in
Abt.
XII
{Einjuhrung
den Lagewwech-
position. Position. 40Melodies Matieres supplementaires: Parties Via et VIb. 2me-7me Position. Matieres Supplementaires: Partie XII
2me-7me
bohemiennes.
ing).
VIII
IX
XI
VIII
-r2.-7. Lage.
Supplemental
IX
X
XI
X
Dazu%
IX
XI
2d violin to the 40 Bohemian Melodies (Part Vic). W. A. Mozart, Sonatas for violin and piano, No. 4, 7, and others.
XIIThe
2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. Partie XII Le second violon
] J
J
(Introduction au demanche).
taires.
^*/.
XII Die zweite Violinstimme aus den 40 bohmischen Weisen (Abt. VIc).W. A. Mozart, Sonaten fiir Violine
u.
XII 8
2d-7th
of
Shifting.
W.
Klavier, Nr.
4,
7,
u. a.
XII
2me-7me
tion
des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc.
Position.
Introduc
XII
2.-7.
Lage. Einjuhrung
Lageniuechsel.
Dazu
den Sonaten
in
others.
4, 7, a. a.
XIII 4
XIII
of
Forms through Supplementary: Concert-studies: Rode, Concerto No. 6; Viotti, Concerto No. 23; Pieces from Grade III.
Dazu 3 Oktaven. Konzertstudien Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstiicke aus der 3.'
Form durch
:
Stufe.
XIV
XIV
Intonieren
XIV
der
Doppelgriffe.
and
Pieces
from
1
Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
au demanche. Matieres supplementaires: W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc. Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires t u d e s de Concert: Rode, Concert No. 6; Viotti, Concert No. 23; compositions du degre III. Intonation des doubles cordes. Matieres supplementaires: Continuation des fitudes de Concert et compositions des degres III et IV.
:
Da
die rhyihmischen
die gleichen sind,
mann
be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
Parts.
2
Ha
Anlagen nicht bei jederkbnnen die rhytkmischen und lib selbstdndig vor-
genommen
It is of great
play
frequently
vjerden, ohne mit den gleichlaufenden Uebungen fiir die linke Hand gleichen Schritt zu halten. In diesem Falle jedvch sind diese Bogeniibungen bei den folgenden Abteilungen nachzuliolen.
1 Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ila et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant 1'etude des parties suivantes.
The difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intonation, proper cresceridos and decrescendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompani-
ist
von grosster Wichtigkeit. schiedenheit zvuischen Geige und Klavier, die vollen Harmonien des Stiictes, die feine Niiancierung in der begleiienden Klavierstimme leiten und drdngen den Anfanger zum reinen Intonieren, zum Anschivellen und Absckwdchen, zum A kzentuieren der Tone. Er tuird geradezu gezvmngen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb kann man schon neben Abt. II IV entsprechend leichtere kleine Stiicie mit
f'dnger
2 Pour le commencant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intona-
ment.
be studied concurrently with Parts Via, VIb, Vie and VII. 4 To be studied concurrently with Parts VIII, IX, X and XI.
3
To
Klavier vornehmen.
tion juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tous ces details le forcent a cultiver une belle sonorite Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer 1'etude de pieces exercices faciles avec piano conjointement aux des Parties II-IV. 3 A etudier conjointement aux Parties Via,
Neben Abt. Via, VIb, Vic und VII vorzuNeben Abt. VIII, IX,
nehmen.
1
und XI vorzunehmen.
VIb, Vic, VII. *A etudier conjointement aux Parties VIII, IX, X, XI.
If
On an Harmonic
Por
Basis
Violin
in XIV PARTS
by
OP. 11.
ADVANCED STUDIES
FROM THE 2nd TO THE 7th POSITION
PART
XIII;
$2.25
PART
XII:
INTRODUCTION TO
CHANGE OF POSITION.
in
all
Diatonic
Scales
positions.
The
The
Double-Stop of the
nine
Posi-
TRANSITION-TONE. Combination
the Fingers
of various Positions on two alternatingStrings. Diatonic Scales on two Strings within the Compass of the Twelfth in all Keys.
for
Fourth
Positions.
all
Shifting
the
Fingers through
Positions,
Skipping
one or two
Positions.
Shifting
Controlling
of the
PART
XIV:
DOUBLE
STOPS.^-Shifting
Individual Fingers
all
on one
with
String through
Positions,
Open
Strings.
pass
of Four Tones.
of two Fingers on two Strings. Intonation of the Double-Stops of the Sixth, the Fourth, the Third, the Second, the Diminished Seventh and the Tenth. THE TRILL. Daily Exercises in Octaves and Tenths.
HARMS,
62
Incorporated
WEST
45th
CHAPPELL
&.
Copyright, 1922, by
Harms
Inc.
part xm.
Studies for Change of Position. Diatonic Scales in various forms in all Positions.
Contents.
ABTEILUNG
PARTIE
Gammes
formes danstoutes
XIII.
fachen Oriffen. Verbindung einer Lage a) mit der nachsten, h) mit der tion a), a la position suivante, b) a la se- zweitnachsten.- Uberspringen ei- conde position qui suit immediatemeiit la ing preparatory to the diatonic scales- ner Lage mit vorbereitendem Finpremiere. Transition en omettantune Skipping over two positions as prepa- gersatz zu den diatonischen Tonlei- position, avec doigte preparant aux ration for the broken triad through three tern. -Uberspringen zweier Lagen gammes diatoniques Transition en octaves.- Combination of various po- als Vorbereitung zu Zerlegungen des omettant deux positions comme presitions on two alternating strings Dreiklangs durch drei Oktaven.paration a l'accord brise de trois sons Diatonic scales on two strings with- Verbindung vers chiedener Lagen auf sur trois octaves.- Combinaison in the compass of the Twelfth in all zwei abwechselnden Saiten.- Diades diverses positions sur deux corkeys, beginning on each step of the tonische Tonleitern auf zwei Saides alternatives.- Gamme diatonique scale, with various kinds of bowing. ten im Umfange der Duodezime in sur deux eorde's danslalimite Diatonic scales through three oc- alien Tonarten, von jeder Stufe der d'une donzieme,parcourant tous les taves in all major and all melodic Tonleiter ausgehend, mit Strichar- tons, a partir de chaque degre de la and harmonic minor keys, with mod- ten. gamme, avee variantes du coup d'arulation, into the key of the adjacent chroDiatonische Tonleitern durch drei chet. matic step, with various kinds of bow- Oktaven,in alien Dur-und alien meGammes diatoniques sur trois ocing. lodischen und harmonischen Molltaves dans tous les tons majeurs et Tonarten, mit Modulation indie Tbn- mineurs, melodiques autant qu'harart der nachsten chromatischen Stu- moniques, avec modulation alatonalite du degre chromatique suivant,et fe, mit Stricharten. avec variantes- du coup darchet.
to the second next..
Der Lagenverbindungston
1.
The Transition-tone with single stops. Der Lagenverbindungston bei einPassing from one position to the fachen Oriffen. Verbindung einer Lage mit der next. Prom the 1st to the 2nd Position. nachsten. Von der 1. zur 2. Lage.
Note de transition dans le passage des cordes simples. Passage d'une position a la suivante. De la ire a la S^e Position.
m
b)*
1
c)*
d)
=5
-3
f^
'
UJJ
l
'
J
2
cil
3
l
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lMMU^4U U HP ^j |P W
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3
W
^
+&
jy '^J
3
l
4
'
l*J-
i^
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P ^i
IP AJ
d) execution.
iJ-
In a) the transition-tone is indicated by an eighth note; in b) it is shortened to a sixteenth; in c) the line shows how the finger
*'
*)
In
a) ist
die Achtelnote angedeutet; in b) ver/ciirzt; C) der Queerstrich zeigt das Gleiten des
*'Dans a)lanotede transition est indique'e par la croche; dans b) la meme note en double croehe. c) la ligne transversale indique le glissement du doigt jusqu' a la note de transition (non jouee'J;
h\ I]
1 i
J|J
d
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J
1
IlliJ
1
1
J-
-
1
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1 1
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3
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3 2
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la
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in
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Sevcik Op.
11.
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j S*
J C
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I
8
rir-E-MTif'^fM'ir-^i'M'i
XIII
4
II
Ox
WW4
c+
,
mm
k_2a
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/-3
1.1
nm
1
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2
3
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i
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From
4^ Position.
De
la
S^ala
-Pie Position.
SJ
3.
IV
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J_y4
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Prom
A
5^ Position
TO
5.
Lage.
De
la 4 15 e a la
5me
Position.
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4
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<> 1
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Prom
the
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Position.
iC
C42
5.
5^ to the
S^h.
Von der
5.
zur
6.
Lage.
De
la
5^ a la 6J e Position.
a a
i
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i^ J-JMI O^ 4 O
l
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42
5^. 4." J*
8~"N
42.
1/^22.
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a 42
3/->
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it
6.
Prom
the
6^ to the 7^ Position.
1
1
7.
Lage.
De
la
IV
SE 3^
O
O
P
i
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-4"
1
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d &
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:=
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3^
42
42
42
suit
Prom
Von der
1.
zur
3.
7. Lage.
De
Vn
vnvnynvnv
^ >t ?3
1
3? e
Position.
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a
l
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n 3
i
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l\ & 8
i i
ff r7|rFf rgr rf ff
|
8.
Prom the 2nd
to the 4*]1 Position.
De
la
2mea
la
4me Position.
IV
im
i
'
m m m j>
'
n
j
'
t/u
3
.
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pf
m m w ^u 1 m
n
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||
Sevcik Op.
11.
XIII
9.
From
5*Ji
Position.
5.
Lage.
De
la
3m e a
la
5me Position.
^
^
m
IV
22
j
*
uy
^->3
m uji mm
'
'
l_-^_
m
1
i
u.r
1
I
yj
^ u^
J..
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^=S
^3
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3
2
Mil,
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hi
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i ^^2
s
1
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B
2
3
i
y
r
i
ji
I
y
I
J.,
i
3~
3
J_
22= =E
rpr
2
(H
?
3
^^
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3.
f^P
i
22= =S
fS
P^
Ji.n'
o
SI
i
n
2
1
r~p
vnr
i
^
,
wm
't=r^ f
n,
i
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3
\
si
f-pr ir-p?
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3^s
1,
rirgP nEE^El
pf r
VT2
oT\3
p-pf
rff r n r fr iH f r r
i
f f
i
ir^ R?
<*
mm
3
i
3^-A
IES
t?r if
~3^
.
f
f
ii
rtf
^S =
ii
ii
rf f if
fr rff ffr ff
i
ii
ff
O.
2
rff
3
f Ff
#-"1
rf
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ifr
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ii
Sevcik Op.
11.
XIII
10
10.
From
the
^i
6.
Lage.
De
la
(i
rjg g_g
i i
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J-
B
s
g)
rJ
1
J^ J-i rJ'l
1
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d J
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n
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ft
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n
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V_T 4
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3
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J-,hj
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U - h e
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1
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3
J HJ
3 3
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1
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i.l
g-^8
at-"-*
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3
_-.
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pSH^P
1,
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mm
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sa
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mm
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8
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i
s 3
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33 ^
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V_L
11
11.
Skipping over one position, with fingering preparatory to the diatonic scales under N? 20.
Omettant
line
zu diatoni-
pre'paratoire aux
gammes
diato-
N?
so.
niques. (Voir
N?
20).
IV
Pos. i.-S.Luge^
1.-3.
3
1,
a-
-3
3-
SE
||
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3
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2
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b
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3
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l
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i
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firf
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3 3
4884
2.-4.Pos.zt=
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(*
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1
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1
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p
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IV
3.-5.Pos.
H
CI
'
J -J
f>J
|
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JjJl
Jj
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p n ^Jy ^ nr nrnrpr P
P
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43 34
4
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3
3
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33
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i i
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rff ff.ff
.
rirf ffff
.
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3
T*
12
IV
4.-6.
Pos.^ 4r6.LageA
J.
v\rJ
"i
J )a
,
nL
3
^ r'Tir'T r-J-UTirprirE
1
l^^^lg^^: 1 vi i
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3
a.
ri rsr
3
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3
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_1
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-(2
3 .
<HMf
5.-7 Pos.
5.-7. Lage,.
42
nn
g A3
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IV
a T 7 1 3 " 1
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3
3
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P
a
13
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g Ipf^
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3 ^4
mm
rv
6.-8. Pos.;
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2_ *_^3
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*'#.
IMI
hJlJ'i)JlJ J
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Tg
sfczsz
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3.
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'
r
3 3
in
3
^^ K^
1
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a.
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i
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+ e ri.o & Eo
4^
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X.
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N9
20 follows.
le
A
SevcikOp.U.XIII
eontiniier avec
N?
20.
13
la
12.(20)*
Passing into the next position.
Ubergang
4^
lr2.Pos.
;
^4
|
8"^
^3
|
l.S.Lag-e.'.
r crrirtrr
rr^^i
3
>
II
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m
4__
ft
c/rn
3
gJ
[/
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J.
gJ
= j J J g
4
3
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i
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ii
o
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i /2
iff** *
3r3.Pos. LageZ
B=
i
rr^r
nT
i
r
rrrrr r''?Hi"i'
i
j
*
-I
jjj
mit N9 IS untf
*
'
ji-i
also with
N9 30
z>/ yo>*
oder
auc/i
N9 20 devrait
13 vorzunefimeit.
Sevcik.Op.U.Xm
14
4
3
3t4. Pos.
J.-4. Lage.
X*% p.
,
SB
fe
NMM
3
1
^ i?
^3~
rrnrr
*^e ^
3^
1
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:# **:- .#.
i
i |
4^
4r5. Pos.
4.-5. T.nre
WV
>1
f.XJ
frfr
n
rrfV
i
i
n
i
S
3
1-|
5r6. Pos.
5.-6. Lage.:
p==p
00
0-0-"-
^
. .
wtrzzm
wl
. . .
M fe
i
n
2
i
frrf frffifrrfifrrf
n
i
U:
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m
1 1
m
n
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in
m w
2
rr
n
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in
i
i-i
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8:
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i
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i
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ff##ff
n
i
iiffff
n
H
3-
in
n
IV
-I
m
Seveik. Op. 11.
11
iv
in
IV
Jj
nr
IV
nr
=8= o
Xm
15
13.(20)
Passing into the second next position on the same tone.
Passage sur
la
meme
note a la se-
IV
a s g,
m
n
i
4
i
S_
i
<'
j J.J]
Jjjj
y j^ i|[ 1 1 1 jjj
i
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jJ
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i
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rr
m
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rr
i
rr
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'
w
n
in
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tH
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i
3
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IV
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i
J
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m a
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'
gl
si
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gl
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32
IE
EI
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n
i-
fe
=
r
1 Q
'
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rr
C
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a
2
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^
XIH
M
^M
W
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j2
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Sevcik. Op.ll.
16
476.POS.
4.-6. Lage.
.
m.
4
&.
-^N3
-P-
-
i
S fffP ffff
I
1
ff ffff f
fr
(2
(2
nrf f
1
U r rn=M
1
m
1
*-
.3
c/n
^ ^=s
J
1
m
n
=P
1 *>
nc
rL/r n o/r g
i
= e
0'
3^
^3
IV
1
1
1
iJ
*
a
= g
* =
_
s
-= -s<-
,3
5.-7. Pos.
5> 7.
Xa^e.
^
I
1
IV
= *-=&=
1^
\
g
3
I]J
II
<
3-
-3
m, f
iL
1
ftp L/r
f L/r
m P
if
f
1
-1
f
=F PP r r r
.8
3,
II
p
r
11
'
^F up LP
r*
r*
j r
'
rrr frrr
i
i
r
1
rr
*^
if
4* :z
rfir
^\8
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ff*
trf
# i
r
i
rr
-
rr
j2.
;
i
f'^
i
3^
Jt
re rf ff ff f
1
i
3^
aC
-^
:- fi
^:
&-
:=m-LjB.
6r 8. Pos.
6.-8. Lage:.
^
3
fr f
m
f tr f
_^_
f r
1
ff r ffrf f frf rf 1 f f
1
i
i 1
_
1
V.
I
1
I
r>,
g r gg
'
-^
l^rf.
3 ^
11
-*
-
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-^
1
-A1
^4
-t
~~~~
IV
J^J
Sevcik Op.ll.XIH
JTJJ
0-p
ISI
17
14.(21)
Passing into the next position from the upper string to the lower.
in die nachste Luge von der oberen Saite auf die untere.
Ubergang
1.-2. Pos.
1.-2. Lage..
^ -fj
'^J^h
aJ
3 3
&-^&
3
1
IPIP
4
*-
iju
gJ itrir':
1
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?
a
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il
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3 3
f 3
g 3 4 .5
r7'
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i
B ^B
1
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^^
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i,
i
5^
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frfff
3 23
'
ii
T"~i>
3,
68
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%
2.-3. Pos.
,5.-.?.
^.3
.4
r>irWf f^
1
Xag-e. vro
w S
ai-.^g
1 1
gajgj
lai
^g
3
g
3
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11 a
^
3
a a a
I
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3
3^
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8
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'
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1 1
o y rJ
3
rJ l ?-*-
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a
4
a
4
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8
I
3.
a 532
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i
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i
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3
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1
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H
a
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i
3
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ff
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3
.
f r>
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ri-r nrffr
r^r.rr r^fn^nr^f f t fe t
"
.
H*i
A,
4 j2
j2 -**
<"
~a
Sevcik Op.ll.XIII
18
3.-4. Pos.
3.- 4.
Luge.
( JS?_
m m
ztt
4
4
OHE rJ
1
/-J
'
?i
5 ei |J-J^I^>J >J
"aajgy
IrJ
I
rJ
lj
lf
'
--*3
-3
j^ffl^j
81
1
Jir-pJ J-ii^ifOiJit^irTi'irFf
i
rir'nr T
^Tip 5^
'
1
i
-0-3-
4~~^
2
i
1 1
^P?
p
i
ya *
p ^ ^f
Q4 3 g
if
"
i-0.4
3
,->
rt r ,rip|r?
i
1 A*
|
ri'i<'
l
f^|i^
3 3
3
I
4.-5. Pos.
jyyu,,>J ia
qte
4
i^
p^J
U^i
3
I
PP
^J
J J
-3
J ^:*
4-
T_
a. cJ 3
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I
1
-ri
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pi
I
4
s
i
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,33
gzg
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*
1
P^
s
3
3
,
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11% -*-2
f
--4
=3=P
P=^
ffnr^
3 -..
f'r
--.. 2.
r^nftr r^f fT
g
i i
ST r^
(
--*
1 ^o.
3 -^ -& .3
~ 3
_~
4 w.
A"*
^* a -0-4
Sevcik Op.ll.Xin
19
5.-6. Pos.
7.6'.
ia^-e.
j ^P
-i
*"-fTf ?
n^
I
i
LhJ JAJll
l
^
J
'2
a^,
5~
r~-
a a 3
3
,
,
3
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P^Sr
m
i
f"ff
,
|
g g
1,4
1
o.
^
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J>l
3
i
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3 g -tr-&
P"n g
*-
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f^
2 s
p,f
|
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>
3"
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3.
f- (jg^-fr'r?V
3 3
2
rf:r r^
||
i
i
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i i
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r^
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^
^ 4 A.P
.
^^f
4^
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i_
1"W
i
||>..:
(^
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U
i
Ul
r
i
vf if
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I
3
r r*:f
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rif f"fff
ii
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3
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i
f
i
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4
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q
:
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.
3^
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fff r^ifff
Sevcik
ff
,,
^^
3
.^^^1 +
&-
1 e*A i^i
Op.n.Xin
20
15.(21)
Skipping over two positions with fingering preparatory to the scales under N 20 and to the broken triads under N? 17.
Uberspringen zweter Lagen nut vorbereitendemFingersatz zu
Tonlettern unter N 20 und zu Zerlegungen des Dreiklangs unter
N?20)
17).
et a la triade brise'e(Vbir
N9
N9
17.
1.-4.
Pos.
Ir4. Lage.l
S
J
IV
Hi
'
'
^
~X
_a
-*-
-e-
yiM Oi 'f
'
in
J-i-,
J)
-*" 3
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3.
^
3
3
^3 ^
V^
f
3
r*
_i2
j.
j
1
j- j.
j
1
j.
m
3
^^
fft^
IV
2r5.Pos.
3.-5.
F^
i
Lage..
i.J>^
-jU
'
-5-1
i 'J-iv
in
'
J -g
sz -*- 3
S3;
^
r
1
^N
3
3
^
n
1
P
^
S
1 1
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^
r
i
2^
F^
nhfr
3
^3
-.
i
3 -n t- 1
r
3
3^
fTriff ff
|
if-tf
i
|
f?f
i
^ ^,^^^ i^^i
-|9-
I-
SI
IV
3.-6.
Pos.
'.
3rd. Lage.
" J-
>,
-i.3
Sf
rJ
rJ
i
-*-i
-*-
J)?
3 3
'-j'J
g si
la
S
s
n
i
11
m.
za -*-s-
^=m
=*=?2
&
a
I
^m ^m
p
i
^Efe^
i
irpi
3
i?
1
3 3
i
F ^
i,
=2
i
r rTr
.
r
i
r r
t
ii
rr^ r rr
i
r
3
^-j
|
^
3
3=i:
f?* :=*
IW
42.
42.
:_
IV
4.-7.
Pos.
Lage.l
4.-7.
S
l i
>s*
5
1
S J
J- J>
rJ
^i
in
^ *^j
^^
^
f
^
irr
i
^
3 3 3
i
^^
n
2/
|t
f fTr rr fr
i i i
nr-gf
42
ff
3
-r-
f*
lS>-
*':
mm
J2.
# '-
-m-0-
&-
p.
Jk%
^3
+*'
.
rz
>
f.ffff ff
Sevcik Op.ll.XIII
33
Scales of 7 notes on one string, shifting once through three positions.
16:
Ton leitenn im Umfange von 7Tonen
Gammes
de 7 notes sur une corde avec un seul changement par trois positions.
IV.
w
a
m
2
^PiP m
in
i
i
"XT
2
IV..
^.^ri^cr.^j j"j^crnccij
m.
^iiT-i 2
crricc;^
i
i
33 b*
n.
P
i
i
n..
P^ m\
jffferr
f teffl?
ge
crt*
froTTf
j ffffrf
mM
i*m
l i
ii
FrPff.ffffff
in
l
**
ffT|ffffff
#
frr frrrfff fffr.^r
rrrffffrffrr
n.
e^i
Hi
n..
iHii
'4
feis
3.
pi
mm _
#wi *0*
IV.
n- frflj
J3%rifjfrJ3jiJ3%riM
m.
SeveikOp.il. XIII
17
Broken triad through 3 octaves.
To be practised in
all
3 Okta-
23
Triade brisee sur 3 octaves.
Atravailler dans tous les tons.*'
keys
*'
_.
3E
z2t
p.
\a.
a.
.
oo
mmm
PP1
SOt
j
l_Jz
i
.i-
rffifff r
i
n
1
A E
-f
m
io _.
.
I
j2.
A* :_
j2. 3
i
(2i i i
.urrhnrmm
<S
:i
O
i
2_
3
42
Z2:
d jfrr
ffr ffr
i
r7^ ###
J .
. =
:
fcgg
Variations rythmiques.
Rhythmical changes,
tii
Rhythmische Veranderungen
44j^J
1
3.
rr
Ie
m.
-^
# #
i
#-0-
etc.
rr
i
^
etc.
3_
iw fH
j
i
a.
"
jjji
etc.
^r
g^gge
:r :~ a.
p
y<;
lf
=F
etc.
etc.
i#w
P
o
S iJJ;j r
etc.
-a 8
mm
.ff
il
~J2-,^\i
^P
commen-
'JiJ'^f
iUM
|
*'ln IH and GV the triad beginning with the open |*)7w Des und Ges ist der mit der leerev G6-string is to be omitted. Saite ieginnende Dreiklavg tvegzuZassen.
24
Skipping over four
string.
lr5.Pos.
18.
positions on one
une
corde.
1.-5.
Lage.
IV o
at 2I.
,,1|,]
-&)
WW g^pp
1
(jr) ,u u
i
Jj
3
&1 a
-=t
4
IS
3
'3
IV
n
'
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n
v
.
M-K.J^ ^^"Ki^V"l
I
,
3|J
J B
\
Vs
+3 x+ d ? 3
Z3LZC
*
? 3
?<l?
^t
m
3^2
3.-7.
Pos.
4
3.-7.
Lage.
4
IV
f~fi
p"4~I
,
'-To
g^dj
gj S c 3
<g-^
i>3
'
"3
&U 3
'
V,-=i "
<
^7 r'^ gL^
-P-s'
j
4
'
V,
"
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'
4.-S.
Pos.
4.-8.
Lage.
IV
3
rJ
lS?-hS'-4-
P==g
Jr5.
c p
i i
^f?
4
3
P P
3
3
" rJ
oy
3
v a
rrj
II
^J
o-
K po 4
I
rj
Pos. l.-o.Lage.
4
3 3
0a * Jr
TO
t
V
r "
i e
i
' J
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ii
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3
y
3
<"V
3
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4
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ft
s>
v
3
,,
iT.
Oo
3
^\
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3
(C
'
2r6.
Pos.
4
S. -6.
Lage.
m
n
it
4V 5* S->
(^
f"i
3
'J
r/Ts viu
r
3
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3
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2
K.
fin r A "
3 3
A
3
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P
1
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V j\ 4
J ~> *
> r
^
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3r7.
Pos.
4
.if.-
7.
iag-e.
a p
.
krffl
<S^L
73"
g-8=2*
3 3
a
:z2
3
I
gj
'
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'
4
II
Pig
'
4 l-^-P
3
1
1=V
'
'
'
4r8.
m
n
i
Pos
V 4
4.-8.
Lage.
V 3
^rf njunr F^
-i
i
n
'
2^ p PS.
2 3
g a
.
2213
1
ro g^n ^C
3
n
,
^7g
p^
^A
p:
Sevfik Op.
11.
XIII
25
1.-5.
II
Kif^ Oi^r
i
3
i
ffri,-r rs
i
/a/a.SSp/aSj
3Q^
g
i
-g- t9>
ir
i i
r?HH r^
r -'i r
-'
i
4 t9-
-)-
1OT O
n.
es
2.-6.
fV,|
f f H fif f^
|
i |
n
iS^
i
V
3
2 3
n
4
i
^f f^
i | ii
^f nn[Tirn r^ firrf^
|
3 /3&-
/?2
"
V 4
n
i
(0)
m
n
4
-gi
I
1 li-ILI
i_LL
:r
3-11
3.-7.
^
i
.
I * &*-i fit 4y
*
g g
n_2
i
O^
:_ ~ 2
2
i
^:_
n
2
3
:r
Ik PN
g g
n 4
.
n
i
v
3 4
,"P'
rT
/^. ^2
4(2 fl4
i i
rT rr
4
TT
^"^
4=-
4.-8.
Pos. 4 r 8. Lage.
^4
1
i2
^24\
fc.
:fc
^-4 A it g
f
2 ^4=-
-R.
g g
,
'4 -^ fr
2
a
|
a.
a
|
a. 3
rf ftf[fr
3 2 /^g-
ff irF rf|fF fr
|
i
4 * "2-*-- - -P
^ ^3
f
|
-ffJ=
1.-5.
Pos.
4
l.-o.
Lage.
n
i
-^
f^-^- 1
r*
i
A|r
~g
p g
i
J2-
rnfT rr
i
~v
2
2
F
i
ffifT Ftf fF ff
|
|
^
:
*-p
A 2:
2
3
4 /22 j5T\ *
j2.
#.;r
4 a O :~&^ #:= :=
2.-6.
/ 4
' * i2
i
:=
T fT fTifr^
i
i i
t i
(24\
/^2
:~
J2^\
rt
S~z
^f rirr
v 23riu
ii
nr
^g
^
J2
i2t
3.-7. Pos.<.-7.<z-,?.
,.!Ckw
ffnf^^
-g-
&* 4-^.
e e := =
:
i-
-f2-
3^i^r2
3
::::
^2
3^4
^2
^1
"-^-l
e e 3 iie ~ ._
ei -
n 4 n ^li2 4
1
v
i
i
^:r
:z^
i
^5.
2.
te P-
ri le&iigfi^^lflA^ ig*
*>*?
S~*
#^-
f-t f-T ff ff
|
5r9.
Pos.
5.-.9.
Lage.
SevJikOp.ll.XHl
26
19.
Combination of various positions on two alternating strings.
tions
1.-5. Pos.
./.-.
Lage..
S
3
3r
i i p r-j p Q
4
ii
j.Jr
p p Pj
*
-^
_4
ijf
3
j
2
^ It
-
_*
^
m
3
iM
3 3
jn
3
'
i
IV
i jjjr^ jri-j
m
-^3
IV
m
8
It^^'iJO'ffic?
3_^
4
f
4
1
g^
n n
0-
3
*=*:
p an
r
rr r
3
fn if
i
j
9 3
ii
m
3
,
.
r. s
re ^
<r.
aH3-
m
3
|
4y
3
ni
n
3
PP?
l
: = z
3
n
_4
^^
-*
n
4,
j>rrrj
jr^
4,
n
4
CJ
e
'
ir
l-
0-*
&
&
2.-6. Pos.
.2.-6'.
-10-fi-
r^
i
^ 0^m
4
f ff
f gr>
(Ttf
i
ff
;
i
c.f f f r
4
I
:_
Lage.
SevJikOp.ll.Xin
27
*^=
mm
IV
^3
m
4
4
in
.3
m
--
S^?
i
* m
4
jy
a^
i
1
IV
in
p 1 fm
n
1
f j
j~ r? j fr
11
*= m
3
jv n
-
n
*
j
*
r
n
^
*
ii
ii
3
-ff' m n
n
ii
n
^~i
*=
n
-(
3E
m
f
-^
i^
i
n
r r
;rir;rr"4
^
n
2
fff ^
0_
t
1
4'
[-
-* -
-4
^
i-Affail
3
i
n
-
i
f 3 3 -*-(-
j-
\
a
._
it n
3 3
I
n
1
S
3
M *
3
*
:-
r
SI %
t
n
3
0^0
_
4
s^-O
3
re
l.-8.Pos.
-F
_>T/
f-\
3 l
--3
t*
# . E
n
-_i
n
.
4 o
.=.
o_
.=.
4
4^
O
:_
Q_
o
4
^sHH
4
"O
m
_4
S
4
^a
*
3
5
3
4 O.
O
-
rrr,
i
/i
-# IV
M
o
L/j j
'
j
1
a 3
-n^S 3
o_
o__
i i
I*
fJrr; ^w
ii
rrr
Sevcik Op.U.XIII
38
Diatonic scales of various form
Gammes
20.
Diatonic progressions in groups of 6 notes through the positions with fingerings a), b),c),d)
Diatonische Tonfolge in Gruppen von 6 Tonen durch die Lagen mit Fingers dtzen a), b), c), d).
Suite diatonique en groupes de 6 notes dans toutes les positions, avec doigte
fljl,
b),c),d).
N9
21).
No at).
21).
a).l
1.-3. Pos.
c)
.*
1.-3. Lage.
S
i
PP^ ^m
1
F-
fhi.
+-J
Pf
d) 4
P
v
i
J^rircr^Ji^
cr*
i
^
m
or
i
m
=*
tr
m t^m
err |ffr
0-*-
T\fuif r
=p
|>
i
^r
qtj
pMM
i '
fe^
r&rcn
uur
mm
m
'
p#mm^
m
pp
Sevcik Op. M. XIII
wm
ipfp
flj jja
29
2.-4. Pos.
2.-4. Lage:.
mm w
*=*,
JJln
J3J
-T3
J^iirLf^
njujg
^
rr
if
m
crfl^f
i
u-cirr
r cj-
p
i
rrV
IS jfiffrr
'
j
i
frffr
igi ^T T
rrr, r
Jlj
re/en
i
i
ii
[jc/r
^ ^
ii
i
^
i
wm
i
J]
#7? rT; ii
i
ng
r J"] j
m
n
i
i i
*=
Ji'jJJ
rv
l
gff?
J^r rrrJ]
S^
J
i
J^
^
i I
feg P
m 8
c/
J
i
^^
1
S jgrircr /3JN/3
cr
tfeg^
s
3
in
rrrrrr LJ
1
Sevcik Op.
U.XIH
30
n.
tf? r
r -rtf f
rg
in.
_*.
rcrLH
in
irn
mp
b~J
'
^cTr
cr^J
j
IV.
jVf
f#%
#*
IV
4.-6. Pos.
4.6'.
;
m mm&m
**
Lage.Z.
S
1
nJ
ip Ji
3
si
ff
m
i
IV
?uT
m
3
rrr
LJ
J
|
Ja rrrirrrcrr rCj-rr^
w=w
fe^j
erf if fr
rrf ffrp
i
|rcfr.ff f!frj
l
^A
E rr
rf f
IMp
Sevcik Op.ll.xni
31
m
i ~
"* *
'
r P
i*
a _
;=s zf
p
1
rJ
1
cr"
IV
cJ>
-"cr
t/r
.
ir'[f.
IV
jTp
IV
r ji
-*-*
org
IV
."
i
-L^ j-j
IV.
/*
I
5.-7. Pos.
5.- 2.
Za^e.
KB" J
Jr
'
E# i3 j^rircf^JiJ^nrcr
m
3
mm
m
n.
i
i*^
rrrcrf
ffr
|
rff fffrrr
i
rffff ffffr
i
m
n
V^3
n
3
g fr
r rr
^#
i
i
n.
f fr
r f ff
n
f fr
riff
n
ff ffr
ferrff
ffrti
p-i
in.
^MmM
in
iv...
#^##
#i1
rr.
^ fe#
m
Pi
Ps
J3JJJ
^
IV
SevcikOp.u.XIII
F=W
m^
err ircr
J3r
Ir
IV
32
Diatonic scales within the compass of the twelfth, on two strings, with one change of position on each string, with three kinds of fingering. Varieties of
2V
Diatonische Tonleitern
Saiten, im
Gammes
diatoniquesdanslalimite.de
la douzieme, sur
deux eordes, avec un changement de position sur chaque corde, avec trois especes de doigte.
bowing.
=
Man
ilbe
66.
schiedenelu Zeitmass,
langsam
J
und schnell
sautille
bis
1
T
M.M.
T
66.
<
1
Changement du <ioup darchet. Ces gammes doivent etre travaillees en mouvements varie's,lentement et rapidement jusqu'a M.M. J = 66.
etc
1.3.5.Pos. 1. 3. 5. Lage. O
rT*
4
US
~ 7
4
i
sul
G-D
(I?*
doigte'.)
m
3
doig.)
3 doigte
.)
JTJJJ J usjjj
3.5.7. Pos.
3.5.7.
Lage
jrrrrfi
J
^mj.i jttwJ*
in
i^a
"^Travailler les
manner has
the advanall
*'Tonleitern
Vorteil,
tage of utilizing
strings.
higher positions on
auf diese Art zu iiben hat den dass man auf alien Saiten in die Aochsten Lagen gelangt.
gammes
33
5.7.9. Pos.
5. 7. 9.
i
Lage
JL
IV
prrm-i
sul
rrrm
i
?TTTi
D-A
i
n
1-^
m
,g
CXfT f
JTTJT
JJTT^
'irfrrrr/Tm^
n
Hi
^ m
n
3
WF
#
~T
n
N,
HH
m
# P
S^f
Hii
in
M ^
Ml
SevcikOp.ll.XIII
&
fimt
-H-
34
sul
A-E_sul La-Mi
Scvcik
Op.U.xm
35
fo be practised
in all keys:
major.
(fur.
Fa majeur.
o
Bl>
major.
dur.
Si!>
majeur
Xm
36
22.
Fingering for the scales beginning on the open string.
Doigte pour
les
gammes commen-
G major. G dur.
Sol majeur.
^m
(harm.)
%&&
(harm)
(harm.)
mn
F dur.
F
major.
(harm.) (Aarm.)
(harm
T
.)
'
MM f?
Bt>
Fa majeur,
fr&W
mm
segue
dur.
major
mmmm
E!>
m wm
Sibjaafeur.
mm,
niLrr^m)th
Es
major. dur.
Mit majeur
sautille
Sevoik Op.ll.
XHI
23.
Diatonic scales within the compass of the twelfth, through all major and all melodic and harmonic minor scales, with modulation into the key of the next chromatic step. Varieties of Bowing.
37
Diatonische Tonleitern int Umfang der Duodezime durch alle Dur-und alle rnelodiscfien und harmonischen Moll- Tonarten nut Modulation in die Tonart der nachsten chromatiscAen Stufe. Stricharten.
Gammes
la
douzieme, dans tous les tons majeurs et mineurs, melodiques et harmoniques, avec modulation a la tonalite du degre chromatique suivant. Variantes du coup d'archet.
On
Auf
Sur
Ab major.
As dur.
Lal>
majeur.
A\>
minor,
(melodic).
As moll
Lal>
(melodisch).
mineur. (melodique)
(harmonic).
Chdrmonisch)
(harmonique).
Modulation.
-a-
fJ
in
^S
in
'
^^
A A
min.(mel.)
A A
cLcm auif
\
m F m
moll,
(met.)
(mel.)
La min.
(harm.)
m
-i-
*[jjjj.J
Modulation.
^m
Sevcik Op.ll.XIII
mm
38
B\>
B\>
(harm.)
Modulation.
H dur.
Si maj.
maj.
H moll,
min.
(mel.)
(mel.)
Si min. (mel.)
(harm.)
**
'
s&T^oJXy rrjlu^j
'
jjJJJJtcgtJH
i
Sfe rTr^r
m^
m
Modulation.
w*
..ttf .ttf.i
in
S^
nr
3
C maj.
C dur.
Ut maj.
IV
*
(harm.)
mmmmmmm
Ut
min.(me'l.)
*^
IV
&
Sevcik
>+-w
i
0-b.
jJTiP^rJi 3
IV
^^%
Op.u.xm
39
D\>
Des
min.
(mel.)
M.
m
m
m m _
(harm.)
JJJJ^LCI
1
QTrn
^?rJ
J
IV
Modulation.
*t
p JW r' IV
'
maj.
Re maj.
'
'-
<L^
sir
IT
iv
Ul
m
(harm.)
^-
Re
Modulation..
^4
\m g g
fr
Ei>
r h~
^2
-?'
^^
m
maj.
Mil> maj.
^hp
m
El>
min.
IV
(mel.)
IV
min. (mel.)
-
SE
trar >
= =-
^7ji i
r
,
T -^
f ,rj n7^rTrtj:
3 s
IV
fe
Modulation.
(harm.)
rmryr ^^
,
vrr rr gj r
j^tt
m fa ^n gg
IV
rr
IV
iv
yrfi
^
Seveik
T 1
'
BB
IV
^-
-3
Op.U.Xm
40
On
the
D-and A- string.
Auf
Sur
les cordes de
(mel.)
Re
et
La.
E maj.
U p rrp m
m
dur. Mi maj.
E mo
r
min.
11. (mel.)
Q/ff
rfrr j
ai
,
Mi min. (mel.)
' '
i^B 08*
b
rxrr.fr
Modulation.
ft)
^j
(harm.)
jitfpr rlrxr
mtLr
^m e
aj
Fmaj.
Fa maj,
grrTrJ^TTi
F min. (mel.)
i
nr
n
(harm.)
m^
i
F moll.
(>nel.)
Fa min. (mel.)
ff
n
^n^l
JJ?^"r^ f
/%
Fit
Modulation.
(^K
maj.
dur
Fa# maj.
n
Ftt
I
Fis
Fatt
min.
^US WH
(mel.) (mel.)
ih.ftfa
i i
it*
n
moll.{mel.)
min.
41
G maj. G dur.
Sol maj
m^
1
rf
Modulation.
ci
TO w ^g
*rfff
*mj&i gg
-ft-
^ ^m
maj.
W
Sevcik Op. 11. XIII
^^ifeg feg
ff-
A A
min. (mel.) moll, (mel.) La min. (mel.)
3/
La maj.
tf
43
On
Auf
Bdur.
Sit>
et
Mi.
(mel.)
, >
maj.
Si|,
min.(me']J
'ti
(harm.)
**
^
*
Si
Vok ^ #gs
At
U^i
gfffi
Modulation.
B maj.
i^^
*E
B
maj.
*&
m-dti y ##
e
^^
T-
^riftf
gffgW
i**
(harm.)
tefc^dd^
-ift/
^^
#^
iieg
U3
Modulation.
;*Hf *tei;
^1)
C maj.
Ut maj.
Sevcik
Op.U.Xm
43
CK maj. Cts dur. Utjt maj.
Ctt
Utjt
min.dneK
Modulation.
m
D maj
?-+
fegg g ggggfc g
min.
(mel.)
D dur.
moll.Cmel.)
Ke min. (mel.)
44
El>
maj.
El>
Es
Es
.--<**? *f
i#*ff
Modulation.
>#.:# ^fesi.-.
E maj.
^ afar.
Mi maj
sautille.
sautille
Fmaj.
Lm^
detache.
M.b*-
F dur.
Pa
ma.i
F min.
(mel.)
45
24.
Diatonic scales through 3 octaves.
I
Gammes
ves.
As dur
Lal>
<
moll.
maj.& min.
Sevcik Op.ll.Xin
46
A maj.&
min.
A dur moll.
La maj. & min.
*7
C maj. &min.
C dur <
1.
moll.
Ut maj.&min.
$i}liWl\U&
Sevcik Op.ll.
XIH
48
D\>
maj. &Cttmin.
<e
Des dur
Re\>
Cis moll.
IJt #
maj. &
min.
rtfta
fflTrffifl^rrj- r r /TTip rj
i
49
E\>
maj.& min.
<
Ms dur
moll.
&
(harm.)
VM S f
ft
aa->3 j
/^ ctf^i
gg
tee
Modulation.
^ dur
1
moll.
i
Mi maj.& min.
Sevcik
Op.U.Xm
\
__^^^_
'
^-"
t\
1
1 4.
# ~~\ *
"P"
\
^
y~
\
;
"
M-
*-
^-i
F"
VH>
A *
^ ^^^^^
fp f"f
rr
1
T" .^ .m.
4
-m-
m
1
p #
G maj.
:=&
HI
13
4r-
3
(4)
rT3g^/ i
Sevcik Op.U.XIII
25.
(a)
51
(a)
Gammes
iw^mm^^^^
IJ^rrTT
'm.
IV..
i
=m0
-m*
J^rrn ^rDJJi
i
ci
m m&ijj^
^ im
m
\
J
i
jjjjjj^j^j
m^lm
53
26.
Der Lagenverbindungston mit
Heben des gleitenden Fingers.
Bei getragene/i Gesangstellen, wenn der die Lage verbindende Finger unter das zu verbindende IntervaU
gleiten soil
inoglicfi ist
The
La note de
transition quand
il
faut
Aux passages
must
is to
shift
under the
interval that
be connected, ~X | pf and where it is hardly possible to make inaudible the disturbing transition-tone, the finger, arriving at the lower tone of the interval, should leave the string just before reaching the posi tion, in order to make place for the finger which takes over the
^J
f!
CT un<^
es
kaum
den store nden Lagenverbindungston unfiorbar zu maclien, verldsst der Finger, an dem unteren Ton des Intervalls angelangt, die Saite noch vordem Frreichen der Lage, u/m de?n Finger, welc/ier den unteren Ton des Intervalls uberne/mien soil, Platz zu macfien.
de cantilene soutenue, ou le doigt effectuant la transition doit glisser au-dessous delintervalle a joindre, 3j~<pt'~ et quand il est presque impossible d'etouffej* la facheuse note de transition, le doigt, arrive au son inferieur delintervalle, quitte la corde avant de toucher la position, afin de faire place au doigt qui doit produire le son inferieur de
l'intervalle.
Moderato.
12
^
i
i;s
A,*
fu.2
i.
ffff rr rf
i
ffTif^ ffr
i
V- ifr p
s-
r igi^^
1,
***
HrrrF grn
i
-*-
*ffr
i)s V 3
^ :Ei 8-/7
i
:^^
^^
:T.-m..2)3
ir ^rirrrr
L^-mS) 3
i
f-
* 3
--3
,.3 4
4
1
N.
..
--
s
1
T-i 4
^1
-p-i 4
-3
f
"'Raise the finger. Seveik Op. 11. XIII
*'
f
Den Finger heben.
Levez
le doifft.
53
sul 4
D-
sul Re.
g
1
3.
m fe^
3
,
1)
p JfiBjl
J J?
'
N'
p
^
f
fp^=S*
\
^m
i>
?) 3
j
i
rfji
3T4
hjiJ
P
'
1 g mf ^ P
1
i
'
lp
mf
J
^>
_4
)_
te* p?
4
=g
i
jL
^ sat
O^"
J. J
^r
*/
J^J
VS*
n. J
if
^3
~*
iJ~T"
^
r
ptp ^r >'
M
y
4
^3
-a
3
s)-
^1 ^
r r =
^-
r
i>
^ ^
/
sul
m
Gsul Sol.
^ 3
I
^
3
I
4.S
V
3
I
,
^j)
,|
*
1
4,
8)
ff^f
'
3)
?ff
iW- <^
J
j
1)
j-j. j
'
Jqi
-^^^__jLJ
4.
^
4
3
'
j-
NjJ |P /^
:
'
'
UJ. ^^
3
f|
=*
a)
2)3
/
4
,
fc
i
31
'^ W&
W^ J4 ^
'
'
UP^L-i
4.
iPl P
Sevcik Op.ll.XHI
'^
Jj'MJ
ija
'
'
i-
54
27.
shift-
Der Lagenverbindungston mit Heben des gleitende)i Fingers bei absteigenden Tonleitern.
'l) 2
^x
#--
1)3
?*
"2
8)
--y.
3)3
fef
3)
rfrrirrrf fff
^
i
ife
,^-r
13
^-
1)
>--^
/^
2)
,-
._
Sm
3)3
ffrfrr Ffi
'2J3
:-#
:-#
rr~^
Si
^
*
fell *!Us>*
fT ,Crfff ffFr
|
-.
sul La.
"*
1)3
2) 3
1)
nyrrrir ffl
^4
3 3)4 3)4 3
2)
3 2)
i
p -
sul
A.
>
JL
3 3)4
^-r ^
^^ pp
sul_D
.
2)3
sul
Re
f
1
mr
> r
r
1
rp =^1
'
1
-J^
8 ^ir3 D*
JJ qJ j
l
l 1
1)2 D3
Tr r J r
I i
1
^3
^
J
3)
8)3
?
i
13)
^
*$
4 3 4
3) 3
4 3~3)4
^3
sul
gHI?
sul Sol
3T*
.JJJ|J-1
G.
_2|3
Seveik Op.ll.Xm
28.
Shifting the thumb from the 3rd to
the 1st position.
Gleiten des
55
Glissement du ponce de la
leje position.
S^ala
The thumb should shift into the lower positions simultaneously with the fingers, as the following examples show.
Le pouce
Lagen gleiten,
doit glisser, aux positions inferieures en meme temps que les autres doigts, comme l'illustreront les exemples suivants.
M--M--M--
44 444444 33 333333
V rF^
&m
segue
% s=s
[^rrirr^r
2
l
<>
_
mj
TL
i_
JTJJ1 JTJ1J
ijjjjjjip
Gleiten der
Daumen
in der 3.
4 4 4 *
S Pff
#p# p
ffff
ff f g||
|f*rf
rfrf
tor usT
err rirr
ft*
r r r r
i^rfl
#**-*
'
sa ^
Sevcik Op.ll.Xm
56
29.
Chromatic progressions with one change of position.
1
changement de
1
position.
^h '#^W ^ V#* W fl
3
1
3 3
^-i
^i
^2
fa
bJ J ^
4 J 90-
'
'
p-jTJI
gg JjgU
J J JJI
Hi
?"
f7
^;t r ffir^, p
i
;
n ---
rWh i
rtfff HL-jf
i-_i
i
[2 i
IS
i
E**fe.
%# aSI%iSfe
Sevcik,Op.
11
-XIII
30.
57
Chromatic progressions with two (MromatiscAe Fortschreitnngen mit Progressions chromatiques avec deux changes of position with the 1st and ziveimaligem Wechseln der Lage, mit changements de position au moyen du dem 1. und 2- Finger. 2nd finger. ler et du 2me doigt. Im Aufsteigen wird der gleitende En montant le doigt qui glisse reste In ascending the shifting Finger remains on the string; in descending Finger aitf der Saite behalten, im Ab- sur la corde, en descendant on le releve after each change of position the shift- steigen nachjedem Wechsel gehoben. ) apres chaque changement de position. )
ing finger
is raised.
)
i i
VU
2
I
'
jjj? J
'
'
U
1
4
3 3
y
1
^
3
I
J~?
1
13
i^iti^-J'i^U
'ijJ'ijiA
m
s
3
bJjTuJ
i
00
J.
3. *
I
Si
* 3i
I
m
'
P-
0-^0
1 ,
III
1
I
i
3
I
|
||J_J|tJ *
J J 4
jJ
II
\\J
31
l
II
J
|
*J
1
J
|
ttj_
? f J
i= ^
in..
at*
3
1
i m rj
-2
*
i
y
II
jjjj^jr
i
3
^
p^if
cvk
J.flJ
111 J
lt
#^#
jb
cjr
rf
\
J
i
^
p0
tf
^j
j
i
}
-m-
cir
^P
^
>
' -m
if
3
\f % f
1_^
..1
^^-m*c
fe*
vinii
fc j
r?^
m
I
fe*
1
|
m
.!
|
W^
TT
'
'II
I"
I fff\
?m*T
f^r f r
o
I
Pr Tf
! ,
ff?f9> ff Pf
|
fWEf
ffftffr
rrft
.
in
*
ff^fff rf
,
*-
s.
&
.,
i
JLTf.f fff
1
:
p^p^
2)3
2)3
JliJ
3)4 374
3)
;l
lil ig
l
1)2
1)2
1)2
1)2 2
2T3
2)3 3
3)4 3
Sevcik, Op.
11 -XIII
58
30*
exercise with the
2a
The preceeding
le
2me
3
et
le
3me
doigt.
3
3,3 5J
IV.
'
l>
|t
^m
r
i
g Eg g
3
i
^ ^
HI
8,
|
3^3
3
j*
^
in...
3
]..'
* *
i3i y
JJ1 iJ
3
k* %
j j bp bp r
SB
-,
m
a
I
M
-3
g
00J^
*
i
r p h J
^a
_
fe
"
3
ItttL..
m ^
>3
jt
II
>
ii
rs r r r
.3
_3
i^gg
P=tz
a*
^5=P
^_3
III.
f
J2,
^"[3 P gP #
tt
g pi P
pfTp_f
_3
r*-fr
#-!i
fcttP
P=S
rf> 1 rr^rrjrf
i
fj
n
I
r ff fT fif if r |ip f^
!
^^Ifrttfo
|
fjjjS
ff
|
f ff
tt
_3
Vh-.
ff>
3_
3
rlrfWf f>
,
ft
..
d^*-
?
<*,
. -
a. a
, I
-^
frrf ft ffe
i
m-^
%
,i
ttfl
Ofim
na
3,
-"
f ffr fi ffffjjffli
gfrgg gfe^g^Pz
^3
30*
The preceeding exercise with the 3rd and 4th finger.
3.
59
le
3me
etle
4me
doigt.
4,
4
i
IV
4,
4
I
4^
Oj
4
41
I
gjg
3
i>
"
# y
{i
1
iJ^J^
3
I
J
I
rL_J j. J
ni ~i
i
*UJ
iijiJ
il
3
j
4 p2
4 ^4
,
14
1
3,
1
,
/I
^JjJJ
I 1
"'I
11
a.k
fN gig j
,
|<-
Sf
gt* g
,4
3
4^-4
C
m.
r r j
'
r"^
r
^*
3^^
,3
1|
r r
r
,.
^->s
i
J- J
rTr
M
i
s
i
^
,
4-
-.
V-rk ^v?i
'
^--73
i Hi
r r
r J
f|l|-
' '
p tf *
mm^?
r
i
^o-d
r">
r
.4 ? s_
?-
U u 09
-
?
i
Jr
=r^
> r rr
-f
rHfr?r
ji|
Trfr* g
i
n.
ffrlMritr
rrf g^
i
i
flrf ifffrfr
^ a ^^g rr rf *
rr ff
,
f^frf r
3^-v 4
3
,f
unii ff^ff
4
3
I
,
f^f pf f f} ft
,
mm
O^k
*"*(*
#i f
a 3
M
Jifi^i
^^^
*l
I
Sevgik, Op.
lijjjlg jjjffl
If
lilted
11-Xin
60
31.
Chromatic scale within the comChromatische Tonleiter im Umfang
einer Sexte mit
la limit
1st
and 2nd
i i
dem I im&
i i
2. Finger.
2me
2
doigt.
SE
m0
Al^\&M
IV.
l
Ui
a
'
90
gfPilfi
^3
O
3
U J^ij^
'
1
J J
P
3
i
|J
I
'
"
Of
I
H p
J7
^^
a
W^j
a a
<4wi
4
11
f*^*
3^ *
i,
IP
i
J Li *I11J j
l
g
i
131
|J
^P
^Kjt
1
^jr^rj
in
1
r
2
P
2 ^
.--'
l J tH
H
^"2
t
l
^j
^
i
113
Si
^^^^"1
'
^^
P^
a 3
'm.
;.'
'...!
'
....
\A
.....
j^rrJiWr^rrtr^^ jj
itflr
pT>
tfp
ti
o
1?
p p
# ^^
rrl
rt i-
g Ti gf 'r rr
i
**r
n
1
^
M
:!
3^
ffT^LS
'r p
vl V
pj^ bp
'..
,,
2---TT
^r
r
r~}'
^jf^ j
s
H
|jgjj ft
,
*r
v
a
y
3
gj g |
^
ff
g
#
i ri
gj fipfif f
fi
g
3
| f f^f rlr
|
r r
p
Sevcik, Op.
*.
HI HHB
,
fi ff
ffff
3
-^g
ffif)
11-XIH
ifffFirr'mfr
ffr
31*
The preceeding exercise with
2nd and 3rd
finger.
2
61
the
le
2me
3
et le
J*
r jj'O W_^J^
S
.
I
33323 3321
J
I|
und 3 Finger.
3me
3
3
doigt.
8
3 3 3
IV
i a
1
4,
IV
3
UJi?
3
O
'
JTJ^iiJ
3
3
J J
Ji^iJ
iv
2 2
2
|
'
*0 W
*
| |
'
CgjijJg
i
* iJ
3
n(J. $. J
3 3
1
ft
i*
Jjg
JT^t
3_
in
-^
2 a
3
3-
.3
2_3
rrat
m.
rr
ttr
^^wm
3 3 3
i
*j
II
;lg=g ^5
3~~3
i
nr
if r
ttf
-*
fr
1 g !e fj
2
fljjjH-gi
Ml
_4
in. ii
*^ ^S
2
3^
a^-i
3,3
3
,
B*
ig
1
i
^^
3
-\3f
ta*
P
I
frn?
r^r
rf-f^f^ ft
ii.
i
il^^g
3
m
i
& f) f
b^giftf
'fTff f V
^ ft
r
3^
fr
i
f^
r;^rff fff
tt
|TN
ftrfWWff
i
A f
F
,
MT^^f^
f ^
'
'
"
f^fi fiftfrif^jtf p f^ f
[ t
fff^tf ^
Sevcik,0p. il-XIII
63
31^
exercise with the
3.
i
The preceeding
1
4|
dent 4
3meet
4
le.
und
3
4.
Finger.
3
i
4
33
3
i l
4me
,
doigt.
8
4
,
,
4i
a 3
fet
'
TVs "'
i
8
.
I
U
r j
J JtJi^ M
i
-^
3 3 3
3
^S
jBg
=^H
lit
IV
^m
i^
^=
^"3
i
3^4
J
"cxr g
mm
H
J
t
-*
8*
$JJ
4
3
Bl p[
i
i
.8
^^
m
3
i
m
,3
a m
# ^g
CB
.?"
m
3^-
^P
^>s
g
4
>
r
.4
i
8
'r
*n ^
r
i
kI
M ^n
?gp
jg gg fy SE
,.-*
r tf r fe
gLHJjuyrir.
r
IT
T TT T
f) m
f7-
:
|
^g T
r
8
rf f f)
|
8^.
f
|
T r "rr fr 5
I g|
^p jfjl B H j ^ ^%^
f
i
u4
iff
i IT
ff
-^
fffT
t ttftg
O ^
*t^ /"
^T^
^~1^4
fffTrf
f ^^
fife*
I-r-4
""I*
O
re
XTli**f
i
Sevcik, Op11
|^ r
fei
-XIII
'
i^i 4
it ia^k-.l
Hi
32.
Chromatic
in the
scale,
63
compass of an octave with three kinds of fingering: with 1st and 2nd, 2nd and 3rd, 3rd and 4th finger.
SaiGramme chromatique sur une corde im Umfang einer Octave mit drei Ar- dans la limite d'une octave, avec trois ten des Fingersatzes.- mitdem 1. und 2., especes de doigte-. avec le ler et 2me, le 2me et 3me, le 3me et 4me doigt. 2 und 3., 3. und 4. Finger.
te
IY
S\
18
8
,
8
,
11
IY
3
4|
4
|
a
.
I I
P
I
IV.
3 4 3
a *
-m \
441 igggB
4 4
1
* 3
*
,
4
.
m O
tat
Lm
.
"
AJ
ji^
3
3
p
O
III
""^
o o
te^
^J'
l i
_Q
I
O^-g
'
g
i i
i
J'JtiJJiJji^ii^
ClIT
00
*r
frrT^ j^'W
* i^S
l>g)
*)
*)
*)
Le changement de position
accented note.
Sevcik, Op. 11- XIII
stattftndea.
note accentuee.
64
.2
0__3_2_
1
S
ft
fi*
"IP^ ,3
3 3
3,
at3c
Irr^r ipl'^
u u-^ #M
m.
'
m.
3^ -^3 *
JjJ^M
*
3
x-4
jJsfliiJiriiffufe t
3
wzat
^m ^m
i
_i
"i
^ i gprff rf-HB
*
...a
p
4 ia
4
^
vl
'
^* ^>
i a -T^ lu^rci
u %^ icag jgggj
3
i*
4 *-*1
JbJ^qJ
m.
mi
i
n
1
n
3
3 3
o/"^- 2rx
rn
i
iirn
L
I I
/is
n.
E^P
zfe
ii
^S S
i
9-^
*=
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>-
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:
,
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i
Tf
^^
f)
r^rfifrWrf1
^ Q^i
i
^g
POT
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5g
,
r'^nwi^iirf ^
3^-r^4
rj^i
m
3
^r'rri*rrf
3,
#\
3
.
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L
,
fffrrmr ^r
4 L
*-1
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wvw
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4
Pr f*
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o o
/%
f^ ftp^rtff ^jgt
u
1T2
^ HHHi
;>
,
fit
tr
frlR,
ff)
r^ffr^
.
nm
1^-3-^3
%-
65
f>
mfn?^m_
2
1
iffifi frfljif*
A^Ml
3
..
te^^fe
4
%&
3 3
.,
73"
/%
tt#li trmm i
^a EfrPffiF
__3
.ffft
fTFf
i.Hl>
43.44 ,.4
4^2
^4 n
,
fftf|*?
-^ M^a
ff p)
^##f^ft^
3*4
f
ftf|
||gj|||jg||^
^ ^ppW^
fifp tft^ffi^ffifo
r~T3
3
Sevoik, Op.
11
-Xm
66
Fingering for the chromatic scale
in the 1st position without
33.
shifting
leiter in
Finger satz fur die chromatische Tonder ersten Lage, ohne Oleiten
O
331
13
13
13
13
Q3
jtjjtjj 3 13
'
'
JiJ j
4Q
'
J tJ J
3
'
mnp tfp?
o
3
13
3 8
131
r ^1
q
3 3
13
B^^T.yg^y^jjjjJ
O
3
!.
jag JJ gl ftgjHJtJJ
1
&
1 1
O
I
3_
13
fl
fWA
5 *^3
3
1
M
I 1
3g
O
3
^^
!|
N-2
lo
Ji J 1
2
it
JJ3
3
S=$
E* g
^^1^
33
1
1111 jHj^_jj|j
'
gggg
,
llJjJj
i^ljjgjg? f^^Jl J
I
l
^S
g|
11
f Q3
Il
-T^
3 3
.
e.
n
I
.:
mS
1
'
O
i
cS^^TO
iJOT^j
S
M ^^p wr
i
rr'r?r
r
tt
^m
f-wvw
O
1
uJ E Be I J B6 g gSi rh C,y ig
1 I j
B
O
3^
13
O^i,
J IB bJ 5 rtff frg
MAT*
i
^O 3 CfijE
I
if
^ &
f
riir^JJ
irf^Ftat
g^ ^
^m. g
^
i
>f
rJf
f> j j
,
>r
I'cjgy^
S
.iti^
n
i
Mr
daEf rfrrrr
j^
lii^i
^ l^pj
SevSik. Ob.
ll-Xm
Abreviations
et
Signes.
Bow hy means
i i
of fractions:
Whole Bow.
Half Bow.
First Half.
Ganzer Bogen.
Tout l'archet.
i
!.
2
1.
Haider Bogen.
Erste
H'dlfte.
2
1.
Demi- archet.
Premiere moitie.
Seconde moitie.
8
2.
2
2.
2
2.
2
1
Second
Half.
2
1
Zweite
H'dlfte.
2
1
One Third.
Ein Drittel
des Bogens.
Un
tiers de l'archet.
2
3
1.
Two
Thirds.
2
3
1.
Zwei
3
3
1.
Deux
tiers de l'archet.
tiers.
3
2.
Firfct Third.
3
2.
Erstes Drittel.
3
2.
Premier
3
3.
Second Third.
Third Third.
3
3. 3
1
Zweites Drittel.
Drittes Drittel.
3
3.
Deuxieme
tiers.
3
\
3
1
Troisieme tiers.
5
s
One Quarter.
Three Quarters.
4
3
Ein
4
3
Un quart
de l'archet.
\
1-
4
1.
'
'
Drei
4
1.
|- *
4 4
4 4
4 4
|"
I'
4
2. 3
Bogens.
'
Deuxieme
Tirez
troisieme quart.
n
V
Down-bow.
Up-bow.
1
)
n
V
Heruntetsfric/i
n
i
)
Hinaufstric/i.
Poussez. 1)
Broad Bow.
Short, detached (staccato),
(martele)
Largement.
Bref, martele (staccato)
hammered
"
(sautille;
)
Springing, bounding,
spiccato; saltato).
"
(sautille';
"
Sautille (spiccato).
Lift
Bow.
Bogen
7ieben.
Levez l'archet.
/ I
Kunstpause (Luftpause) s)
First String, E.
Kunstpause (Luftpause) 3)
Erste Saite, E.
Zweite Saite, A.
Dritte Saite, D.
Saite, G. 3 )
/ I
Kunstpause (Luftpause) s)
Premiere corde, Mi.
H
HI
Second String, A.
H
HI
H
HI
Deuxieme
corde, La.
Third String, D.
Fourth String,
G. 3 )
IV
o
IV Vierte
o
IV
o
Quatrieme corde,
Corde a vide.
le
Sol.
3
)
Open String.
Leere Saite.
Sul E,
l
mi.
Retenez
le
The
M.
Fr.
little
finger
is to
Retenez
crochet.
le
M.
Fr.
M.
Fr.
Milieu de l'archet.
At the Nut.
Am. Froscft.
Au
talon de l'archet.
Sp.
An
der Spitze.
Sp.
A la
pointe de l'archet.
1)
Unless otherwise indicated, the first measure begins at the nut. Lift Bow and make a brief rest. No practising should be done on strings
not true in the fifths.
1)
der~)
Ohne Sezeichnung der Richtung begimit Anfangstakt iwwer a//? Frosch. Bogen Zieden una' ktirze J>a/tse mac/ten. Auf nicM qiiintenreinen Saiten soil nieht
'*)
Faute d'indication speciale on commence la premiere mesure au talon. Levez l'archet en faisant un bref silence.
On
gettbt iverden.
ment justes.
OTAKAR
OPUS
SEVCIK
II
ARRANGEMENT DES
MATIERES.
Partie I
Introduction to Position.
1st
1
Z^Posirio":
Supplementary*
J
IV
///
I.
Nebenbei
1st Position.
IV
rhythmic
1.
vorzunehmen*
1.
Lage.
Part
VThe
Major
Scales from Parts Ila and lib. Pieces (1st position, Grade I) with piano. 2
*Abt. V Die rhythmisierten DurTonleitern aus Abt. Ila und Vortragsstiicke (1. Lage, lib. Stufe I) mit Klavier. 2
IV
tion.
Introduction
tion.
Einfiihrung
sovuie
III and IV; also the 2d violin to the 29 Duettinos from Parts I, Ila
and
lib.
in die 2.-7. Lage. lib, III und IV, die z<weite Violinstimme zu den 29 Duettinen aus Abt. I, Ila und lib.
Position. } Matieres Position. [ SupplemenPosition. taires.* Position. J *Partie Les Gammes majeures rythmiques des Parties Ila et Compositions (Ire posilib. tion, Degre I) avec piano. 2 Introduction a la 2me-7me Po|
Dazu: Abt.
sition.
Matieres
supplemen-
Parties lib, III et IV; aussi le second violon des 29 Duettini des Parties I, Ila et
taires:
2d-7th Position. ) c , Via .,.+ Vlb -2d-7th Position, j Supplemental Melodies in the 2df40 Bohemian
7th position.
Via Vlb
lib.
Dazu\
Weisen
in
der
Via Vlb
-2me-7me -2me-7me
Position.! Position.]
***-
J^LVL
Vic VII
2d-7th
Position.
40
Bohemian
Vic
VII
Supplementary: Parts Via and Vlb. 2d-7th Position. Supplementary: Part XII (Introduction to ShiftMelodies.
2.-7.
sen.
40
Vic VII
VIII
2me-7me
ing).
position. Position. 40 Melodies bohemiennes. Matieres supplementaires: Parties Via et Vlb. 2me-7me Position. Matieres Supplementaires Partie XII
la
2me-7me
VIII
IX
XI
VIII
-T-2.-7.
Lage.
] } J
Supplementary
IX
X
XI
XII 8
W. A. Mozart, Sonatas for vioand piano, No. and others. 2d-7th Position.Introduction to
4, 7,
X
Dazu
IX
XI
Abt. XII Die zvieite Violinstimme aus den 40 bohmischen Weisen (Abt. Vic). IV. A. Mozart, Sonaten fiir Violine u. Klavier, Nr. 4, 7, u. a.
2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. taires. Partie XII Le second violon
] [ J
(Introduction au demanche).
des 40 Melodies bohemiennes (Partie Vic). W. A. Mozart, Sonates pour violon et piano,
XII s
2me-7me
tion
Nos.
4, 7, etc.
Position.
Introduc
XII s
XIII 4
Lage. Einfiihrung in den Lagenvjechsel. Dazu Sonaten von IV. A. Mozart, Nr. 4, 7, u. a.
2.-7.
:
XIII*
Lagenverbindungston.
Form durch
through 3 Octaves. Supplementary Concert-studies Rode, Concerto No. 6; Viotti, Concerto No. 23; Pieces from Grade III.
:
Forms
XIII 4
Matieres supplementaires: W. A. MoSonates pour violon et zart, piano, Nos. 4, 7, etc. Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires & t u d e s de Concert: Rode, Concert No. 6;
au
demanche.
Stufe.
XIV
XIV
Intonieren
XIV
der
Doppelgriffe.
Intonation
Viotti, sitions
du degre
III.
and
and IV.
Pieces
from
1
Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jederkbnnen die rhythmischen Uebungen aus Abt. Ila und lib selbstandig vorgenommen merden, ohne mit den gleichiauf enden Uebungen fiir die linke Hand gleichen Schritt zu halten. In diesem Falle jedock sind diese Bogeniibungen bei den folgenden Abteilungen nac'azu-
des doubles cordes. Matieres supplementaires: Continuation des fitudes de Concert et compositions des degres III et IV.
Because the sense of rhythm varies in individuals, the exercises in Parts Ila and lib may be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
1
Da
mann
Parts.
importance for the beginner to with piano accompaniment. The difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intoration, proper crescendos and decrescendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompaniment. To be studied concurrently with Parts Via, Vlb, Vic and VII. 1 To be studied concurrently with Parts VIII, IX, X and XI.
-
It is of great
Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ila et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes.
1
play
frequently
liolen.
Haufiges Spielen mit Klavier ist fiir den Anfanger von grosster IVichtigkeit. Die Klangverschiedenheit zvjischen Geige und Klavier, die vollen Harmonien des Stiickes, die feine Nuancierung in der begleitenden Klavierstimme leiten und drangen
reinen Intonieren, zum Anund Abschuiachen, zum Akzentuieren der Tone. Er vjird geradezu gezvuungen den Ton schon zu bilden und das Musikstiick gesckmackvoll
schivellen II
2 Pour le commencant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine 1'eleve a une intona-
vorzutragen. Deshalb kann man schon neben Abt. IV entsprechend leichtere Heine Stiicke mit
'*
Klavier vornehmen.
Neben Abt. Via, Vlb, Vic und Vll vorzuNeben Abt. Fill, IX,
tion juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tous ces details le forcent a cultiver une belle sonorite Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer l'etude de pieces piano conjointement aux exercices faciles avec des Parties II-IV. 3 A etudier conjointement aux Parties Via,
nehmen.
'
und XI vorzunehmen.
Vlb, Vic, VII. *A etudier conjointement aux Parties VIII, IX, X, XI.
PART
XII:
INTRODUCTION TO
PART
XIII:
CHANGE OF POSITION.
in
all
SHIFTING.
Octave.
tions.
of the Scale.
Diatonic
Scales
positions.
The
of
TRANSITION-TONE. Combination
various Positions
all
the Fingers
on two alternating Strings. Diatonic Scales on two Strings within the Compass of the Twelfth in all Keys.
for
Fourth
Fingers
Positions.
all
Shifting
the
Major and all Melodic and Harmonic Minor Keys, with various kinds of Bowing.
through
Positions,
Skipping
Shifting
Controlling
of the
PART XIV
on one
with
String through
Positions,
Open
Strings.
pass
of Four Tones.
: DOUBLE STOPS Shifting of two Fingers on two Strings. Intonation of the Double-Stops of the Sixth, the Fourth, the Third, the Second, the Diminished Seventh and the Tenth. THE TRILL. Daily Exercises in Octaves and Tenths.
HARMS,
62
Incorporated
WEST 45th STREET, NEW YORK CHAPPEIX & CO., Ltd., LONDON, ENGLAND
Printed in U. S. A.
Copyright, 1922, by
Harms
Inc
PART
XIV.
ABTEILUNG
-
XIV.
PARTIE
XIV.
Saiten-.
a)
aufzwei neben einander liegen den Saiten, aufzwei von einander entfern ten Saiten,
on the outer strings, d) with the distance between the fingers remaining unchanged
c)
b)
Glissement de deux doigts sur deux cordes a) sur deux cordes voisines, b) sur deux cordes non voisines, c) sur les cordes exterieures, d) sans changer l'ecartement des
doigts (succession d'intervaUes egaux),
e)
c)
Saiten,
Intervalle).
d)
dissimilar intervals), by skips of thirds and fourths in diatonic progression. Intonation of the double-stops of the sixth, the fourth, the third, the second, the diminished seventh and Intonation of th&Trill. the tenth. _
f)
f)
mit wechselnde fSpannung der Finger (Folge ungleicher Intervalle). in Terzen^und Quartenschritten
in diatonischer Folge.
par sauts de tierces, et de quartes en progression diatonique. Intonation des doubles cordes de
septieme diminuee. du Trille.
Intonierung der Doppelgriffe der Sexte, der Quarte, der Terz, der Sekunde, derverminderten Septime,und der Dezime. hitonierung des Trillers.
1.
et de la dixieme. Intonation
Gleiten mit
remaining unchanged,
.
13.
1 1
13
4
i.
*) 3
i**l
i
a
3
3 in
1
':
**
F=^
0-m
!=-
P
*)Both fingers
to be shifted
simultaneously.
*)
rue/ten.
*)
t.
m
m m =5z =
3 3
m m
=F
m f
3
03
-0-0-
A 00-0
0-0
"3
**
3-
"3
in
==*
I
^*
3 3
e
3
*=F
1 3
1.
a
4
3
4
.3
1 T-f
f-
i
3
.
s
4 4
3
F=Fr
"4^
4 4
^^
Seveik Op.ll.XIV
It
On
1
the
1
A-and G-string.
Q-Saite.
Sur
les cordes de
La
et
de Sol.
^
ry
3
1
**
SCjC
i*-i
3
yy
2
1
a^
3
* a
3
1
2
1
B=m
3
1
3
1
1 1
f
3 3 3
i
3
3
0-0
3
0-0
1
rw
3
*^0-
^
3
3 3
*
3 3
OT f
-3
2
*
3
0-0
#
3
'
a
4 3
^3
T
i
E
3
0-0
0*
is i
^ #=F
3
0-0-
P.
In skips of thirds.
*)
In Terzenschritten.
En
sauts de tierces.
yybrf ^m
I
i 2_ H
t
)
i i
p-
^=
3
1
8 3
* ^
3 3 3
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S
3
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ww
WW
3 3
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3
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3
Z*
3
3
##
r
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3
3
o^cJ
i r
i
P=P
1
P=K
*
3
4
3
5
4
m
ry
*-*
}*-
T*
3
1
1
3
-0
3
0-
^
*
VJ
Sis
13
1
CLU'CIU
0-0 pqe
3
PES
-
3
3
3
2
j*
I 2
*-i
13.
m
#-(
3.
-0-0
4
ra
^3
ww
#
*)
4
1
To be practised also in A.
Sevcik Op.ii.XIV
*)Auch in
dnr zu
ii6en.
1
In skips of fourths.
In Quartenschritten.
En
i
sauts de quartes.
^^
w-w
3
r*
WW
WW
WW
>
3
-2 1
\
^=S
3 3
3
y~F
i*-i
WW
(*
^^ =
3
^
4
3
rr
#-i-
w-w
ff_W*
i*
sul
m
l
sul
A-G.
La-Sol.
l
#-(
y^
S
#
->
TT
azat
=s
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o
*-#
3
3
a
9
-#
#1*
*
V"<
w
4
r*
ww-
00
ww
-w
Sevcik Op.u.XIV
2.
Intonation of the double-stop of the
Intoniernng&es Sexten-Doppelgriffes Intonation de la double eorde de la sixte, with the distance between two ad- nut wechselnder Spannung der zwei avec ecartement changeant des deux neben einander lisgenden Finger. jacent fingers changing. doigts voisins.
sixth,
sul
4A h
Hi,
'!,
1^1
i>
pnVflTr'
i
*::
##_^f: ^^gg 0~
i
nrfrrcLL i
i
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m.
i
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a
.
,3
erf frrff
i
i:
"2 t- *-
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2~~
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3
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3
1* #V PfffP_flF f_ffffrr
l
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0-0
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1
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I
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_ #*
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tt
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3
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:
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1
I
-
mm
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= 1
EgPPrrP |ggi^gp|fg:i
|
-4
rM
Sevik, Op.
u-XIV
sul
S ^Fli.rr.Fl
2
0-0
i
*:====
1
*=ff
jc==p=q
1
o g^g
7
#i*
anr
jEK
|
rr
i
|
jj
|
rr
I
|
jj - jj 3=
0.9-
3
n
3
S
2
3
xa
^^
0-0
IX
-*
2
SM
IT
jC
# _ ##
0=0
3. 2
mi iS
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0-0
m
#-
m
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.3
_3
*
0ZML
i n
jEjC
.*.#.
m
0-0-
tar
3
0=^
-ll.
3
iJd
rri
-.
rr
m
3
*-
n 4
_4
-4
rri
1
il
rrl
3 2
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3
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#-#
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sul
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2
sul Sol-Re. 2
2E
1
XX
1
i
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i
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(T
III 2
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3
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IS? ^=^
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3
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3
2
371
2
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3
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3
3
0-0
jry
0-0
1|1
3
ffi
3
*?
^^
1
^
atp
2 4
atat
JJ
* T Jb:
*"
**
jCC
a
3
~*
**
##
##
#h*-
-ft
J
3
JJ
3
^
3
<
U
3
iii
H
i=F
afcsf
JT
clL
mj
i
'mj'ai
3 3
III
mi
^4
aqE
ZTTlhU
J1T3 *^
TT
2t
In skips of thirds.
In Terzenschritten.
En
sauts de tierces.
? I
etc.
sul
fer^E* feSEE
4
l i
1
3
M
1_
<t
mm
-0-
-0-
-m
*J 3
=
2 2
22
_
i
22
! ,
m m
9- 9-
9- 9-
fFFf rffr
i
9-
&
-
fffrrrf ff f
i
1 1
?
r
rffr rf
I
^
9z.fl -
Hg
^ ** ^ ^ ffrTfff?rfP^
9.9.
1
1
Orf
Sevcik, Op. 11-
99
^^
XTV
sul
D-A_sul Re -La.
3
2E
1
i
1
m
*
2 rr
* *
in
i
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ff=
= =t=3K
g
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3
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fT
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3
at
S
_*
S s
I
e #
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s==
III
3
TT
1
^=F
h-
1
m
in
an*
T1
m
3
ry
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1=
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III 3
8|
||
ana-
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atat
PJJPiJIPjJ
3
3:
IV
1
.
s
-r
3
s
a
^
lj
1 *
^^ m
-
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m m
ij
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a"
s
,
7 fjj
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uU
#i
SevCik, Op. 11- XIV
rrn rrn ss
a<
^n
10
In skips of fourths.
2*
In Quartenschrittm.
En sants
de quartes.
etc.
sul
Mi \
\ \
|iA
jj
"
-P
^
3
1 1
#-
rr
f f
1
1
MM
fe
m=^u
1 I
i=
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y^
ii
11-XTV
11
sul
1
00
0-
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/
S:
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A
M.
n
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2
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tt^^
l
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J.
l
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1
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1 1
IV
SI a
12
Intonierungdes Quarten-Doppelgriffes
deux
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1
j j
n
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4
3
4
3
S*
f
true strings.
* fc=*
00
S
^^4
m
Sercii, Op-
*=m
m^
t=d ^4
*) Nut'
-4
Saiten
zit
auf quintcnreinen
iihen.
-"v A
w*
'4
U-XIY
14
In skips of thirds.
3*
In Terzenschritten.
En
sauts de tierces.
sul
ffTVffrofi
m
4
-0-0.
fern
4 4
1
mm
sul
SS^ftE
4
tflmfTr ff rrTT
4
4
.1
-J
1*T
0-0
ff==*
fc=*
1
g
Lu Iff i
#f
^n_
#^ pp
3
M- lr = =^2 =^-f-p
-
S
l
>
#-#
mr
^^
r
i
>
ra ^
l^
mm
#
3
3E = =
3 3
#-i
20 #=-=?
III
00 .-fi. *: = =*
A*
3 8
ffi 1 ff I
pc==m
4
4
lt=*
#-!
_^
0-w
0-0
f
i
*-#-
**
s 4
l
00? #--=#
sul
G-D_sul
l
Sol-Re.
l
IV
mm
S
2 2
^^-d-4
0-0
2
WW Sat
fcirf tjJlJJll
3 2
|P] SEE-S
2^
1
d
3
0-0
*=====*
# i J
:-
0S'
00
8
^P
3
IV
ti
-#
i
3
3
^3
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a:
TT
P
*
0-0
-00 4
*
0-0
S
a
jEC
Sevcik, Op.
0-0
IV
WW
^ i
0-0
11-XIV
3*
In skips of fourths.
15
In Q uartensckritten.
En sants
de quartes.
sul
D-A_sul Re-La.
-**
I*
S
2
E=C
2
m
i
III
-*
SiBf
2
3C==qe
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0-
ps
#
EX
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i
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WW
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4
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sul
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i
lfT
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if
1
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at; at
am
/
V
f
i
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00
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,
rf
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t==Z=*
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IV
3
_JL
n7h 1
,>
vr n
3
El #
3
0-0
IV
jE=3
i
^7
16
4.
Intonierung des Oktaven-Doppelgriffes mit stets gleich bleibender Spannung~desl.und4.Fingers.*}
Intonation de la double corde de l'octave sans changer l'ecartement
entrele
l e r et le .
4me doigt.*)
ged.*)
ftHjEflV^ffffi
mm
sul
p^^
*#
4
i
4
i
etc.
A-E_sul La-Mi.
*#=*
fe
1 1
Sh*
1
1
1
1
is
sul
tffrff
1
fffffff fffg
|
n.4
^^l
^
1
D-A_sul Re-La.
4
p~p? =z
4
##
WW
-w
t#-#
T^#
1*
rf
n
1
4
WW
.*
4 4
4
iH
WW
*-#
KjK
^
**
sul
G-D_sul Sol-Re.
4
ss 1
=
3
rr
CJJ
7
3
r 'U^J
,r
3
#
-1*
^
"^
WW
m^
The middle fingers
Sevcik Op. 11. XIV
s1*
-#
^Ml,mi^ ## **
*'Les doigts interieurs glissent sur la corde supe'rieure sans etre leves.
slide on the
upper
17
In skips of thirds.
In Terzensc/iritten.
En
sauts de tierces.
sul
1
A-E_sul La-Mi
4
m
8:
rffff r
.
i
F^FF
I
;
-0-0
f>
-P-
FffFF--F Fit-FF_-F
sul
m
4 -- #-
-_FF
S
jg
D-A_
sul
Re -La.
4
I ?
^
f(TS
i
-
#-y-
ra P
-*-*1 1
#: : :
0.
tf_
A.
:
;-
"1
;-
c* w
5-1
01
Tr \r -J-J
L_
1 i
7
i
sul
G-D_sul Sol-Re
4
3fe
i J
0-0
0-0
i
1
m
4
0-0
1 1
iS
1
.4
^4
g=^=
Sevcik Op.ll.XIV
18
4*!
In skips, of fourths.
In Quartenschritten
En
sauts de quartes.
S
l
11
^-
ffl
*:
r
-4
4- --/:
)
m
i
----
t-
-m-
-mm
;=
;Ejt
ff
m
0-(+
-4
iT*.
ft gj ^ff^f
M-t*-
Ml
ML
t
1
l 1
i
1 1
WW
n
4
_4
4-
f_I EX
sul
7*
1-|
^4
#-|
G-D_sul Sol-Re.
4
3
;^+
_4.
w
4
i
9
i i
-
~w
-m
S3
OT
4.
4_
H
4?
/ Quintetischritten
4
In skips of fifths.
4
En
sauts de quintes.
Ml
#
1
^
#
1
=fe
<y
*-
<S*
_4
11.
Sevcik Op.
XIV
19
sul
D-A_sul Re-La.
4
.
^
i
m
l
1
-*
sul
G-D_sul Sol-Re
4 4
-* 4
g ~~
:=3a!
a
,|~
u
p-
m'
&^5
4^
/ Sextensckritten
i3
Wm
In skips of sixths.
En
sauts de sixtes.
Sevcik Op,
H.XIV
30
Intonation of the. double-stop of the third, with the distance between the
is_t_3rd a nd
5.
Intonierung des Terzen-Doppel. griffes mit wechselnder SpatmIntonation de la double corde de la
tierce, avec e'cartement changeant entre le ier-3 6 et le 2me-4me doigt.
ung des
1.-3.
und
2. -4. Fingers.
ing.
sul
A-E_sul
Lai- Mi.
l
-
^ H fy|^"
I |
l _i 1
O0-0-
fr
=g rTrr nr r ^rrrr, f rr f
Pf !ff!
,
tfgff tftffr?^rtfrT^##
i
m
s
a =
sul
D-A_sul Re -La.
WW
1
|,|,|,|
Trrr
rr^
ISl
-00
m
S
a
^ :=
S^|
sul
G-D_sul
Sol- Re.
l
I l
IS
1
n.^*
f^
Sevcik Op. n. XIV
^g
*=*
(-i
(tijjjjJ^J p
21
sul
3E
j
14
1
fhiftr rUtuftetf
5
ttlffrtf
i
ff.tf Ff f
ggftrr.
i
mmjgmmimmM mmm
sul
D-A_sul Re-La.
m m
00
g -n
If
3
3
m
3
"^
sul
G-D_ sul
3
Sol-Re.
3_
s
mTO
3 8
J J J* jJ
-#
h=^=-* -#
* #-f
IP
#- ^h*
4 4
f4
" f d"
ate~d
/njJJ7] /JJ 4
i
0++-**
4
IV
In skips of thirds.
/ Terzenschritten.
En
sauts de tierces.
fffrrfffTffffrfff
3
rrrrr fff?rrnf f
3
ii
lm
Sevcik Op.
11.
XIV
22
sul
i
D-A_sul Re"-La.
0-0
1
00
ftz-=m
ry
0-0
m
3 3
m=m
>
_> 2?_
3 3
gfefl
i
m
sul
G-D _
sul Sol-Re.
1
i i
g jiijijJ
*p-
vLJ
. * m m *
3
ww _ *
J _ *
- - _
-_ *5
- -
--
#
3
*~:~-
i_
0-0
pn
i
IV
sul
3
to?t
rT-tef
i
tor tof
lung tof
i
ff
JJ
~4
sul
D-A_sul Re-La.
3
,
p ^ p
#-#-
p-p-
pcjr
t-P-
i
r
warn.
f-
i
m
sul
a
i
4
(-#
4
p;i
00
g^
l*-=p:
G-D _ sul
_
9.
Sol -Re',
3
0-0 7
P-K
0=0-
0-0
0-0
0-0
*=*=!
Sevcik Op.ll.XrV
5^
In skips of fourths.
23
In Quartenschritten.
En
sauts de quartes.
sul A-E
sul La-Mi.
fttert W\W\Wfi
1 1
0-0
3
{+-<.<.f^
^ffffrffrVffi?rfr?f-^"rrrrTrffr?rrr?fr
3 3 3 3
0-0
sul
-=-=- -*
#-1*
ry
^.
rrr,irrr ta
3
in
W^ 0-^-0
J
^S
m
l
sulG-D_sul
Sol- Re.
w- m -at m T
-mt
wm
0-0
"3
f dd*J
sul A-E _ sul
2
13%^
i
_i
_4
* |E_
3
3
t^ -
I 0**0
V?
La -Mi.
,
IV
^2
frrfifr r rfrr
* v-v
l
ffffffff fff.frffrVffEfrrrr?fffrrrrr?rfff
n
sul
4
4 2
D-A_sul Re -La.
0^.^.
a
P
fe
1
V=0
p tfff}
4 4
8
rr
7r f f r. r r srr rr& 1
4
10
* J
m
J
sulG-D_sulSol-Re\
,
w 1w
^_
-00-
Si
a
J*
^
m
- -
He1-
>Im
r
rv
"cITfi^Q.
d**
24
Intonation of the double stop of the second with the distance between
the lt and 4^h fingers changing.
6.
Intonierung des Sekunden- Doppelgriffes mit voechselnder Spannung des l. und 4. Fingers.
Intonation de la double corde de la seconde, avec ecartement changeant
du ier e tdu
4me
doigt.
sul
mm
w
J-J
1 1
frrf?tofrrf?ff.fffr^?ffffffff?frf^iS frrf
^TffffffffTfffffff. f f fff jj
,
if
jjj
iii
fggftfffYrffffff^rffffffTrfffrfrrTrr-fr^
"4 5"
sul
D-A_
sul
i
Re-La.
l 1
i^__^_
1 1
^-i
g
m
#nH*
m m #-!
fm
^m
+-P-
I fm m
fi-
^^*
Sevcik Op.ll.XIV
35
sul -4
G-D_ sul
*
.
Sol-Re.
4-
"...
'l
1
1
jflTJl-
Ste
iMiJ
4
4
i i
P m ?
rfrrrr rrrrrm
\
Fff^a
4
'Mfil * * L ^
rf
IV
IS
sul
i
D-E_sul Re-Mi.
WM
1
i ppe
i-i
y-y
P=K
S
4
.1
in
sul
A-G_
sul La-Sol.
m
4
S3
4
i
M3t
1
&
w
4
IV
1
1
i
2
1
1*
1
p- -&-
^* f
* *
p-
0-
m-
1
i
0-0-
m
~*0
4#^
m m
mm*w w
l
m *
IV
fe
Sevcik Op. 11 XIV
fd
-fry
4
* * y
26
sul G-vE
1
sul Sol-Mi.
1 i
Z=1
rv
=*
*==*
=*
6?
In skips of thirds.
sul
In Terzenschritten
sul
En
sauts de tierces.
A-E_
La-Mi
l
A Pl^hV
ii
i>
ii
h^
frrrTr rr
1 1
rfrrfTfrrr fff f
t
!
r^rffff
f ^pfff f
n
sul
i^
r r
rTf rf
D-A_
sul
.1
Re-La.
-3
in
~tis
simultan-l *)Mit tfem
|
v
"
*' Shift with the l^t and 4'J1 finger eously into the 2nd position etc.
1.
in die
2 Zage
u.s.w.
Sevcik Op.
11.
XIV
27
sul
G-D_sul
Sol-Re.
g * j,~
'LL/
a * a
1
#
(
sul
l
D-E_sul Re-Mi.
-#
^
4
1
I
m
sul
I
G-A_ sul
i i
^
j-i
i
i
Sol-La.
*i
:jj^jj-4-jj
i
*m
^i
M
|>
i
-?
s-i
r r
j j
\\
rr
\ \
r r
y
i
*
r
* m m
4
1
'N
i
4
m
1
^ =
a
m
-^4
~~4
w 9
1
1
Ik
sul
G-E-sulJSol-Mi.
t0-
#1
4
1
1
4
1
rz:
^^ ?=
IV
3
Sevcik Op.
11.
XIV
28
In skips of fourths.
6*
In Quartenschritten.
En
sauts de quartes.
sul
E-A_sul Mi-La.
l
M ri S rffiK
ni>
i
fetfTcj^gf ttfffgf
i
frrffff
i
...
i
ffffrffr
n
sul
A-D_
sul
La-Re
1
r
r
m m
0-0
rr/. Lrr
i
>
* ,
#--*
pS: w-0
m
sul
G-D_
sul Sol-Re
* d
i
*L<
0b3
0-0-P-
d J
S=
0
4
IV
sul
l
E-D_sul
Mi-Re'.
-
-1
^i
0-0
1
1
W0
0-0
0-0
-4
in
sul
G-A_sul Sol-La.
^
i
-4
ri
sulE-G_sul Mi- Sol.
m
1
r^_=z:
1
4 4
1
m
00
00 0-0
IV
0-0
00
0-0
1 1 1
ff
a
fffi"
0-0
4
en
IV
?"
es:
car
m cttr
D3flir'J
7
Shifting of the ist-3rd and 2nd. 4th fingers, with the distance between
29
Glissement du ier-3me e t du 2me_4me doigt,avec e'cartement changeant, sur deux cordes non voisines.
strings not
1.-3. und 2.-4. Fingers mit wechselnder Spannung auf zwei von einander entfernten Sai-
Gleiten des
ten.
sul I )-I Iwsul
3 0-
Re-Mi.
;; 0-
m.
*1:
i
ft
\>y
ftp
r
</
i
ff
1
1
^=^
1 1
*#
#
1 1
v3
, 3
*---
ft
m
1
tt
#"Tft
H
2
^n
w=
W=j*
d=F
1
-4
_4
^4
^4
sul
1 1 r
G-A_ sul
0-0
Sol-La.
-3-
J-
A2
-*-
4L-0-
TI
2
4 ft ft
*ft
^
1 1
Sevcik Op.
11.
XIV
30
7*
In skips of thirds.
In Terzenschritten.
En
sauts de tierces.
sul
D-E_sul Re-Mi.
3
=
i
1 1
tcr
^4
CZjB
1
* *
3
4
00
Sol -La
3
00
sul
l
G-A_ sul
3
^
I
=65=*
m
3
**
3
PE=3C
2
3 4
1
1
_4
^4
00
Sevcik Op. 11. XIV
fe
B!
8.
Shifting fingers, with the distance between them remaining unchanged, on the
outer strings.
3 3
31
Glissement du 4Pl e doigt, sans changer l'eeartement, sur les deux cordes exterieures.
and 2nd-4th
Oleiten des 1.-3. und 2.-4. Fingers in stets gleicher Spannnng auf den ausseren Saltan.
ier-
&& et du
#ft-
Ite# m^m
:=:=
'
8'
8'
6""
8'
S3
3
1 1
3
3
>?
^3
.3
irnajn
z
1
4 ft.ft
4
:
4
.
4 ;
ft. ft
jt:
0-
-^*-'
*^
^t#
m^
ft
1*-T
^v
*3
r
8
n*~
==^
-
-Ci-
_^t_^'
^-:
#-!-
f~
<$;
*#
<?;
4
1
^_4
I
8*
In skips of thirds.
3 - p3
-
LET
En
sauts de tierces.
/% Terzenschritten.
3 ft
3
.
/Li*
r
.
ft
ft
ft
ft
c.
ft
.1
^=^4
1
ft
tCj
:-
r
-ft
r
M.
r
.
jTg_
*^
^
^3
r
rf-n
ft
iz:
Se.vcik Op.ll.XIV
tl
32
fz
ft
ma
*a-
0.
~2=&-
*"
<9<$""
&-<?;
8""\
<S""
<S
r-i
w~~w
s:
m i
4
0-0
3
1
3
*""
ST:
^-4
an
0-0
#-(
ry
rc
8*
In skips of fourths.
1 1
In Quartenschritten.
3
-*-
3
/jlfi
ft.
e
p
i
JJ
-3
0\
1
4
;-|ft
En
0.
z
sauts de quartes.
9.0.
;rt-
^9
ff
: *
Z=Z*~ * ~
a. ft
^ 1*1
^r
f^'m
uzl
JZM
*'
'
8".
13
In skips of
o
fifths.
3
In Quintenschritten.
En
sauts de quintes.
7j]
kt
rn
wm
g>
fft-lft-
-3
~^3_
3
1
1 3
,.
EE
-8-
#-|
UL
f-f
3
^=S
1
M
M^\
M.
P\"
3^
*:
i- C
:
:=
:=
:-
i\
4
1
3 4
3
4 3
LL
it
Sevcik Op.U.XIV
8*
In skips of sixths.
iI
33
In Sextenschritten.
3
En
:;
ft
sauts de sixtes.
3
ft- -ft-
ft.
3 ft. ft
1m-
ft-
ft
,
1
- 1
ft4J
1
/fgz
p V-
==1
tfi
.
4
*^*
ft-ft
*
,
l_J
:=
i
r
3
-r
:=
=
1
f
.e :=
:
_ p
p:
4
it-
9
'
U"""""
,7
'
-3
-^3
:=*
ft
,
:z
ft-ft
:=
.e
11
IL
*"
8i'
i#
^CLL/v
:~
ft-ft
^I
V
.9
^
:_
:_ 4
ft==s
/?U
s: 4
.E
.=.
:
:~ .;
1=
3E
S
8!
.
PHft
JUL
ta S^ s
1
ft
ft
ft
ft
ft-ft
EE
-4
*
i
ft-ft
g
3
lftift
'L1CJ LEI
'pi
<*
"
IV
Z*-
^s-
=^3
rT"
&
ftj
1ft
"*
J*
ft_ft
ft~y
OJ
2
3
1
BE
=*"
4-
ft-ift
ffl^
\
1
11
1
ft
=?= 4-
4-
4-
lh
*-
ft-
J:
1
ft
ft.
1
#r _2__*
-t~
ft
Tft
*
-3-
ft
ft
ft-
-j
ft'
1-ft- ft-
ft-
Eft
ft ft
ft ft
1
it
l
jft.
ft
* P
v * 7
3
1 ft. ft
ft
i
ft-
3
3
ft
3_
^3-
3-
3-
jft.
ft ft
ft-
-*-^
3
~r~TL =ppj
,
_3
i
-lc
3
ft=
ft
P
li-
ft
ft"""
y
ft ft
I
4
ft!
1-1
1 1
* #H
i#
E5
IV
^rc
34
9.
Intonation de la double corde de la diIntonierung des Dezimen-DoppelgrifIntonation of the double -stop of the tenth, with the distance between the 1st fes mit ivechselnder Spannung des Lund xieme avec ecartement changeant du ler et du 4me doigt. 4. Fingers. and 4th finger changing.
i^ Nl'll^p
l
**- *
i
M.
-el
4 etc
sul
A-E_sul La-Mi.
i i l i
PP
0~9i ^
.Mi g
'rt
l l
liiM s b
_4
4
m.
1
4
0.
*"
"A
'"
i
:
M
V
i
^_4
.4
ft
P~P
-<4
#=!
fc
AA
ifrrl ==bb
%,
<S"
?=+
^
::
#*
^
-*-*
*-*
##
Pp:
i*i
^5
sulD-A_sul Re-La.
3 #-
ES H
mm
ft-
EC
o
r-r_
f-r
00
ftft
1
s
1
f- M-
^
4
f-P-
ft ft
=c
^
1,
sul
3
G-D_sulSol-Re
ft=*
aE
3J
ft
001
Sevcik, Op.
11
-XIV
9*
In skips of thirds,
sul
35
,.
In Terzenschritten.
4
E-A.sul Mi-La. 4
4
En
sants de tierces.
#===
sul
f
"
F
Re'-La.
r
i
^r -^fTf t__
1
'-~#H*':
i
l
^i i
F
Li
'
ft
[
'j
D-A _ sul
JLm-m
##
T
i .4
1
.4
?
~V
>P=jE
I
#
^4
1
*~
1 1
.4
ft
1-#-
ZC
#
#-|
r>
*-i
P
-0
sul
1
G-D_sul
4
Sol-Re.
=+ -J? 1
-<
d 4
0-0
-A.
*-*
J
t
0- -
5
1
w_r
i
1
ff
~-
dJ
V
'
9k
In skips of fourths,
sul
/ Quartenschritten
En
8
sauts de quartes.
S
8'i'"
P^
r4
rf 1
1
a l
o
4
0-0
ftft
-* 1
4
_Jt
IP
XI
sul
D -A _ sul Re -La.
#.
ffl?
sul
G-D_sul
Sol-Re
ff
Sevcik, Op.
11-XIV
36
10.
Intonation of the double-stop of the Intonierung des Oktaven-DoppelgTifoctave with the 1st and 3rd, and with fes mit denil und 3., und mit .dern 2the 2nd and 4th finger. 4. Finger.
md
2me
et
4me.
sulA-E_sul La-Mi.
],
b \>
hh \\
\
3 3
8-
^m%
^
3
^_3
i
i
m
ff.-,efi
+-
m
#
pm
m m
f*
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ry
i l
fe
et
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o
3
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IL EA
Lett !
0-0i
11
i
3
II
_
00-
0-0-
Pf
fr
ti
i
Sevcik, Op. 11-
oqe
33
#-#-
0*".m
XIV
37
sill
i 0 -
D-A_sul Re-La*m *
9-
^^
3
M. ML
0-
*- M.
##
3^
*
i
1
*-l
3
3
4 3
00
3
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*
3
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^4
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JE=C
E
3
^
^0^0
?
B.
G-D_sul
3
Sol-Re.
-*"
3
-"1
I
3
3 3
*
i
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_
1
[_
1
^-
v? -*-
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*
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i
f
1
f
1
T~f
f~f
f~^
'
r0
H^
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00
i
=-3
J
i
a
+-d
rmj
JJMJJ
J
1
ft
i|JJ|JJ|i L
-0__
-f -^3
J-J:
"
J.
'
Jz^
^LJ_=
3
r p
J J
-j
b_J
L-J
r
2
=
2
S3
^4
^4
1
1
=s
J
XIV
38
In skips of fourths
sul
lOt
In Qttartenschriffen.
En
sauts de quartes.
3
1 I
sul
D-A_sul Re-La.
it
i
i
i
i 3
JR.
iTm
i ^
g g
# *
*#
-
S
~
JR
a a
3
4
00
Sol-Re.
a.
m m
n
sul
m
i i
i
13
G-D_ sul
m
-J-
m
3
fet
5
i 3
>
i
#
1
i
1
S
00
S
3
* *
in
Sevcik, Op. 11 -XIV
^
4
1=
a-
11.
Shifting of two adjacent fingers, with
39
Glissement de deux doigts voisins, Oleiten mit zwei neben einander liebetween them changing, on genden Fingern, mifwechs'elnder Span- avec ecartement changeant, sur deux two strings not adjacent, nung, atif zwei von einander entfern- cordes non voisines.
the distance sul
D-E_
sul
Re-Mi.
i
M^
i
ten Saiten. s
1 3
mm
lul
i
1 1
1
3
*
3
or
,
s
I
2
s#
^3
3 -v
.3
I 1-5
1
1 1
1
#-
*-
IM
1H>
ffi
*
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##
3 3
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I
m-0-
I
1
i
^~
if-m
P3E
^i
cz
-rm
S.
&
sul
1
G-A_sul Sol-La.
a
XIV
40
In skips of thirds.
sul
In Terzenschritten.
a 3
En
:E
sants de tierces.
D-E_sul Re-Mi.
1
* r
#.
i*
i
:__
\\\>\
rt
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ffi^
J
-
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fr
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ape
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pear
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apt
BT
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1
arar
==*
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3 3
1
3
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ape
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^
a
0-0
3
I
TT
m=
'rl
sul
i
G-A _ sul
Sol-La.
atat
3
^
0-0
*~*
if
mr
99
[rHLU"clLr
s
iS
99
nvftn
apt
l l l
ape
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37
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3
3
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mm
3
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at
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8
1
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14
77
3
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3
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ape
t 3
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9-
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Sevcik, Op.
li-XIV
S H
JL
*--
re
^
:*
12.
Shifting of the chord of the diminished seventh with two adjacent fingers, the distance between them re-
41
Ruckung
maining unchanged.
menakkordes mittels zwei neben einander liegender Finger mit stets gleicher Spannung.
.
Glissement de l'accord de septieme diminue'e par deux doigts voisins, sans changer l'ecartement.
The chord of the diminished seventh: Der verminderte. Septimenakkora-. -jjfcL'accord de septieme diminuee.sul
r~
A-E_
sul
La-Mi.
^
T 3
mm
MM
MM
;^3fcE
3
Sfpmff,
BM^ r^ iii
3
-9-9-
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-3
mm
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fez
ite
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2
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3
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fe
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13
1
i
3
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1
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3
8
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3 3 3 3
3 3
2t
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g f crj'LmLrcJ
Jet
b4&mm$ s
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3 3
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3
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sulG-D_sul
a
a
IV
i
i
m ?
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run
ff
i
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3
j bjj jj ^V ddMii'jm i 33
i
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TS
a
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s
0-0-
3,
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---
4 -#-
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r^
Sevcik Op.ll.XIV
IV * 4
_4 _4
fe
43
13.
The chord of the diminished seventh:
m
I I
mm
^"1"^
1
_3
e>
.3
MM
&
3k
^-^3
fi Jt 3S
__
^
2 3 2
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w
sul
o
^ mmm
1
44
,
-::==
33
In
3
ij 33 333
4
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^3
te
D-A_
sul
3
Re- La.
3 3
1
1
or
32 ii-^ /-i_-^3
1
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ft
fek
Tli v
fe FE 1
fe^kyr.i., j sa
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ill
1
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i
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3
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o
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ftry .Tr
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14.
The chord of the diminished seventh:
43
sul
A-E_sul La-Mi.
r
I
WT
1
url
fe^ggcjgjfeli
l
lei
O
3
33
2 2
_3
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H
i
feafeafeegafeafcJByjjyiiJjI^B rTrWrlLrC
Oil
4
,
11
I
1
a4
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3
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3
3
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3
mmmmummmim
4
3ff_
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r\
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33
sul
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3
d*k
_8
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dMiidM F
3
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'1
3
2
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ii'
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2p
m
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ff
Bfe
_ mm - Tf - rr -Jffr .% e
fc
n ^
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3
3 3
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k
.
03
ffiptf rn
3
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5
r^s
0-0-
z==:^
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l
<
^ff
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l
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=5
Sevcik.Op.il.
T_3
r~t5
#-#
LJ
>
^t*
r %3
3
2
'
^ * 33' * c =
i
m 4
700
3
.4
P
|
I?J
^P
P
*-*
0-0
^e SPi! 3,
l_
'
XIV
44
Shifting of the chords of the diminished seventh with various fingers, the distance between them remaining unchanged, on two strings not adjacent.
15.
Ruckungen der verminderten Septimen- Glissement de l'accord de septieme akkorde mittels Gleiteh mit verschie- diminuee au moyen de divers doigts,
defien Fingern, mit stets gleicher Span- sans
L ^9l #oo# oo ^
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-0-
&l
-0-
0L ft v
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l.^s
SfflH
jfe
s
lOO
fi
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o o
te
it
ft"
n
v
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ft
tz^-m
O O
1
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1
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1.
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1
3
re
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s
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i
i
mjf
2.3^3 i #,44 w
3 3
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r
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Sevcik
Op.ll.
^^-m^i 1? *
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4
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gft
i^y
4
M 5
l
o o
O O
IV
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41^^
4 O O
U-LJ
MJJ 4
1
*tf*
XIV
45
Uft
Bft
i.
4.3^
1
ajl
fee
EE
1*. i=
nf &
fl|
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H? &
rr
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it
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ll
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iff
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1
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IP
4
5.
3S B
14
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<>
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:# ^i?
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v
33
i
a.
Hi
i i
->,
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ra
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m
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ft
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ff
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l
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ft
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US
^tei
Sevcik Op.Il.XIV
46
of the
Developpement
et intonation
du
Trille.
16.
Stroke of the fingers.
Fingerschlag.
string.
Battement de doigts.
Un
l.
battement.
la eorde.
feW 3 Bg E
i
i i
(i)
'
:.*)
o 7
3,T
i j ip ^^yijj/^jj-^^jyij^-^^j^/ijj/^
i j j j' jji j jy ? ^ i
' '
'
& r g$
O
'
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IP,
O,
i 1
simile
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o
J, O
:
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O 4
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a- i a
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gjjEJg
o
J
o
J J
jd~?
J J J J
3
jjvJ JJ
J J J J |jJ
l
o o
1
LT y
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o"
^
o
m
v
i
i
g^a Et
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&
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V'
3.
/o
1
S
5
^
i
3_
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o
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pp..
rp
rr
/'o
1 rrrf , ifl\fl\
o
gg
fo
/o
*)
Long appoggiatura.
*Y Longer Vorsc/ilag.
**)
*)
Appoggiatura longue.
Kurzer Vorschlag.
17
Several strokes.
47
Plusieurs battements.
Mehrere Schlage,
m jw mr m m my jw my
7
'
'
OOP
'
O
*-
n*
o o
ji* u'jj^jjjj'
"o
"~"""o
j~3
i
ji ijjjj*
p
I.
fsp^
p
o O
i
O O
i
O O
./'
./
o o
o o
o o
o o
o o
o o
J?*&MJm*jaflH^*fl-U3 J*
2.
P
3.
f
V a
o o g
3-
J3fl
J]
o
*J^
^O
O
,/'o
O O O O
j
CpCCv
p p p p
P
v
*-
f
O P o
P p
f
p p p
./
,f
J'
P O P P
pppp pppp
f
Sevcik Op. 11.
XIV
48
Trill without after-beat
18.
Trtller ohne Nachschlag.
Trille sans terminaison.
^ifeg
\>
I I
fffe
| |
HP
flllF I
'
^iW gBF
^
'
*-^*
lJ7J3J^vp iJTOJIJli'
o
o
f
o
'rrrrrrrrp
gp
i
rrrrrrr ff*
Pm Pm PmP
rfp^p rjtrrj^
i
*pf
ft
pPpPpP pPp
>*^-
rrrrrrrrrrrrrrrj^ j-p.p
i-r
o
PrpP^
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ft
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o o
T^trTP,Siu,ke S C U I
. i
i.
$.~~m.
A
J'
Sfc
o.
^
tfr <tr
^<tr
\4r^
6
'o
*
S
o
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4r
J)? J
bJ Jn
ir
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J. 7
L^
4r_
4r
i 4r
fo
EE Sfc^st
*-*-&
s
i
IP
7
ir
4r
4r
'
jj
*)
y i w yv4 y ^ /^
i
*}Unbeschrankte Anzafif
de>'
jj
/i
*)
^
4r
Schlage.
19.
Trill
49
Trille avee terminaison.
with after-beat
^^^
I>
II
ltfiUlM
"jjijj^ j^jyiyjiJ/j'tL^
i
o
i*i*
p i*p y if
rrp f~p
rrrrf
iT
r r
r fr?
rp
rrrfr
ff
rr ^^^r
y
'
rTrTr n
rrZZr
o
M" E^^irTrrrf
rn^a
-
o ^~^p
m
*)
:
rrrrr
&m
o
^ cxxjEZETllcj
'
[: Lf cjx/ r
'^B
O
O
i
*)
jrajmnrj] u
*)
jjjjjjjjj
**)
turn.
*) After- beat.
*'
Doppelschlag.
**)
Nachschlag.
*)Gruppetto.
Terminaison.
50
tr
<tr
ir
r4
<rfr
jj
o
rt
i jj i ii ji
'
'
r j jj 'r^i jj
o
4r
4r
jfr*
|T
i j
tr
<tr
^m
o
4r,
i^
Si
tr
* 35fe & J*
i^m
*-
-i
*:
l^* _
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4r
Y** J_
w-1-
-om-m-
^
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-ffr
rrcj
nu
*
'
3E
^"
A
o O O O
h
'i.j^'jT^'j.^'^jJJ'
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J-j^U
4r
_
dr
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O
Id
O
h
O y
I
<tr~
'
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y
I
=g^a== i
H J y
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g
4r~~
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ti
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i
O
I
^m$
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c>
o
l
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j PJ-^J
?r
PJ3j
o
L
.rr
r
l
p>3 E^P
o
s/Mrr i/r
i
g-r it
^ r uriT r
or t
gr t r
i
&j
20.
Exercise for the Trill in 6 positions.
|
51
Trilleriibung in
6 Lagen.
I
Exercice pour
le trille
en 6 positions.
jk^Pr^hf^
ipfl,r.r$-fl
Tf^ijprf
<tr
^fVrrf^MM^
o
1
tf^Pr
i
4r
K-ii
O ii
1
aa
*,<&
^S
-v 1
-^
3. Pos.
fl
flj3|j3?3ffo
Jj
_ f
J p-
ft
> r r ?r
f
fJ Mf J
?
|
j*
.
^fft-
jj
oj ./. ji
^Mi^r^^irf^V^-^^
i
#
4r
tfr
4r
0-^SSevoik Op.ll.XIV
52
0^m m^mmiM
-+&?
s-lMit
&
na
O
1
Zii>&
tr
fl
m^m
O
1
&ju
1'IV
*
:-; -
n
i
mm
ft*-
4r
4r
Co
3.
J7J ftjj?
o^i O 1
1 1
?
TJ j
fefe
.
6. Pos.
6\
Lage.
E
o
3,
J
*
-M
fl
1
i
mH
m
j*-.
fl
H?*$--
Jl
ill
Vi*/|-
jUI
g
Tf = ^
.ft*-
>i
&
r
J5
M a.'
itit
&
J?
i.
fl
r
0J7
rj
r fff
i
J.
Ol O 1
In the higher positions, where the distances are too close for broad fingertips,the trill must be played with the edge of the fingertip, after the 3rd finger J= has been moved slightly towards the A-string.^ As a preparatory exercise play the without a trill, the 4th finger striking against the bare fingerboard and gradually approaching the E- string.
*)
Sevcilt
Op.U.XIV
hoheren Zagen^ in welchen die Mensur fur breite Fingerspitzen zu engist^sollnur wit dcmJtand der Fingerspitze getrillertwerden, nar:hde>n man den S.Finger ^L e in wenig gegen die A-Saite ger'uckt hat. =5= Als Voriibtmg spielt /nan das e ohne Trille rysc/iiagt in it dein 4. Finger anf das blosse Griff6rett Hud nahert sich allmalig der F-Saite.
*)ln
O^^TT
petite pour le bout des doigts larges,il faut executor le trille seulement avee le bord du bout,
apres avoir rapproehe le 3me doigt un peudela corde de La. Comme exercice pre'paratoire on joue le mi sans trille, descend le 4me doigt sux le bois de la touche,et par degre's on rapP r che de la corde de Mi.
21.
Daily exercises in Octaves. Octaves employing the open strings from the 1st -3d position.
Tagliche Ubungen in Oktaven. Oktaven mit Qebrauch der leeren Saiten von der l.zur 3. Lage.
de
la lre-la
3me position.
etc.
a)
with the
1
1st
s
a)
1
4.
Finger.
a)
avec leleret le
4me
doigt
M-m-
W V WW ^
=
*-*-* d=
4_
1_
f
3
f
4
^ lg ijij *M
'
^ H
? *
'4
*t
x:
*"*
s*y
i
T-
22
-f
'
F I* M._ ._ *
-0-
M. .
">
2 . # Ti
-'
-I
Jzl .0.
..
'^~ #- # M. ._
: .Z-.
.t
s^--
%
=:
m
O
!
b)
with the
1st
b)
mit dem
l.
itnd
3.
Finger.
3
b)
avec le lr et le
3me
doigt.
'3333
1
1 1
1
3. 1_
3 ?
% ^
=*=
3
iW
f:
r^ ?*
3
BE
^
O
3_ 1_
:
4,
4
I2-*
*-r^
1
3_ 1_
= =-*
L
3_
1.
b-
31_
P
4
b L L
O
4
3_ 1_ 3
1-
E
i=:
w-\- +
yo
54
c)
c)
mit dem
2.
und
4.
Finger.
c)
avec le
3me
et le
4me doigt.
444
^
3 4.
3,
3-
3,
o
4
1
48-
2i
*-
*=:
-f
*^
-#-
-S^
#
1
-#
^'
##
O
4_ 3_
f:
4.
3.
S-
^1:
d)
'4_ 3_
zr.
alternating with the 1st and 3d and the 3d and 4th finger.
Krf 4.
Finger abwechselnd.
#
3
1
c=
3
1
4
3
4
3
3
1
4
1
\ 1
i
4
1 3
!==
** *
l
I
T-
2
"I
-"
4
1
4
1
I
1
4
3
V
4
1
j<
=B
3
1
3
1
4
1
2 3
3
1
I
f
4
3
=*
it*
*~^
55
Octaves avoiding the open strings from the 1st -3rd position.
a)
with the
1st
und
4.
Finger.
4me
doigt
toftftiW
1i
^
r *
=
i
m
IV
J
=*
= *~T~^^y"3
=ff
5
*
jv
nr
n
in
*
=
s-
m
a.
is:
b)
with the
1st
b)
mit dem
l.
und
3.
Finger.
b)
avec le ler et le
3me
doigt.
m
#
n
T*
*=
'J*
i
^*^
V^:
i
-W-
<^
m
.IV
W*
zn
1
n
*
i*
^
m
ii
=
m
IV
SevcikOp.ll.XIV
j -n
= n m
m
IV
56
c)
c)
mit dem
2.
und
4.
Finger.
c)
avec le
3me
et le
4me
doigt.
^
m
n
i
*==
n
in
:=
n
in
-fr*
m *
I #*
i.
=5
21
jv
IV
eS^
*:
m
I
:~
-*
Po^-
n
-m-
&'
f
Ein
IV
m
IV
f
d)
=*
d)
*^f
d)
# wechselndem Fingersatz.
J
zgr~w
4
8
m
j
i
*=*=*
4 .2
m
f
4
3
3
1
3*3
3
1
4
2
if
/
i
23
^
g
|
4
'
^^t
j
* ^
'
M >
|
i
Pi'r"Pi
-#-#
El
iJ
J-*
1
l
n
St::*=.+
4 2
3
1
:=:^*
4 2
42
4 3
J31
m
IV
22:
m
IV
i
4
*=i
4
2
*j*-W-
^:
Sevcik Op.ll.XTV
23.
Exercise in octaves from the 2d- 5th
position.
a)
57
2.
zur 5.
mit dem
1.
und 4. Finger.
a) avec le ler et le
4me
doigt.
##
rs
.".
il",
f
IV
m m
n
n
4.
1.
m
51 jn
,
pF
n m
$
-*.
m
p.-m.
in
iv
?'
w
1H*
n
T&-'
n
w-0-
&
m
n
-0-
4_ 1_
m
IV
m
IV
=*
23
=: *=9
mit dem
b)
with the
1st
and 3d finger.
b)
l.
und 3. Finger.
b)
avec le ler et
le
3me
doigt.
^
f
*
V
m
IV
==
n
in
0M0
m
t
i
(
m
11.
&
-0-
>
-f^-
#
ff=*:
m-
-P-'
-m-
'
**
E
K=
=:
ii
ti
m
IV
in
iv
Sevcik Op.
XIV
58
c)
c)
c)
^
g
f:
3^t
n
IE
m
rv
43.
g g
n
W:
t:z
m
F-r*
-
25
r
i*F
j2-
:e
i
d)
^5
with change of fingering.
d)
z# wechselndem Fingersatz.
d) avec
changement du doigte.
^
-0-
*=i
Vf
e=
1
4 2
04a
o
1
-<+
4l
3
1
3i
4 3
3
1
-0-
P--
-e-
-**
0-
P-
f
F-T^
g r
^-
&^-
.2'
> #'
*35
24.
Exercise in octaves from the 3rd
6th.
59
3.
zur
e.
position.
a)
with
tlje 1st
and 4th
finger.
a)
mit dem
l.
und
4.
Finger.
a)
avec
le
leretle
4me
doigt.
p
b)
m
m
IV
b)
m
l.
m
IV
S.
mit dem
und
Finger.
b)
aveele leret
le
3me doigt.
IE
:--.- :_ :=
:=
m
=b
i
m
IV
m
IV
m f
==
m
fg.ggf
1
S=3i:
~jf.
m ?
:r:r*
j2.
1-
turn
3
1
n
3
3 -^1
.1
in
m
g-j
M.-0-
=:
3
m
IV
sM
in
IV
Sevcik Op.
11.
XIV
60
c)
c)
mit dem
2.
und
4.
Finger.
c)
S
4
n m
n
4_
3_
w
n
i
-0-
in IV
>
e=
n
-f
'
-0-
0-
-P-'
P-
2
-f
n
in
m
.=-
m
=B
._
.=- .K.
--
m
IV
4) with, change of fingering.
3
1
m
IV
d)
P
3
d)
mit wechselndemFingersatz.
4
2
* *
S
4
=
3
1
-1
N3
3 J
4 3
*=*
a zgza
^
*L
"
"
+
3
3
1
3
1
4
3
3
1
Jr
vuj
M
-
#
V
w
#
w
&
SI.
- k
0. m.
p.: t
0.
;
*'
y.
I
4
v.8
n
1
n
in
3
-P-'
p
Sevik Op. 11.
P- i0
?##=
m
n
i
= = &
n
8
1
m
4 3
m
IV
m
IV
XIV
25.
Exercises in octaves on the E-and Astring through the higher positions.
a)
61 Exercices en octaves sur la corde de Mi et deLa par les positions super ieures.
a)
with the
1st
and 4th
finger.
mit dem
l.
und
4.
Finger.
avec le ler et le
4me
doigt.
sg
8
~f
SteA rift
t
=
*-
V-
*t ~ #
=.9.
T *1
-m-
P-
19-
*-
*=*
W
s
8-
~i-
*^^
i-
U'
-^** l*T*
^Tmrft.
'- -
T9-
:_ st
&..
9-zpm
=*==?==
b)
with the
1st
b)
mit dem
l.
und
3.
Finger.
b)
avec le ler et le
3me
doigt.
m #
***f^f
-p.
T-
4fc
S
i
1
&
8"
*&
-0-
-I
-P.'
tie
<y;
f f J;
n*:
o.
-y-
urn:
Sevcik Op.u.XIV
63
c)
c)
4.
Finger.
c)
avec le
it
2me etle4me
doigt
~^8
T
S
f-9-
-0-J--0-
-0-
*
'-&*-
W
J w
f.
.E
/TV
?-**
...
s^m*.:
P-'
8
/\Z~~k.
1
.
1
._ m\
.....
r~ m~ 9 m
_fe
UJ
L_U
UJ
--?
--^_ ^_
^-^-\
^Z~~k
&'
r~
F-
rr; -*
&
** #
=*
tS-"
t*-
o.
#T-
5"
*=B
d)
d)
mit weehselndemFingersatz.
d)
~^8
"^T
4
3
3
1
S
3
1
4
3
# >
1*#
s
;
*
Jt
^'
p-
i-
-p*
#*
4
3
3
1
H*T-
-i=F--
<S"
*::-
:=:*
Exercises in Tenths
2fcj,
Ubungen
in
Decimen.
Exercices en dixiemes.
63
=c^_
a)
--
'
1 B J i
'
^g-etc.
o
a)
a)
employant
^-^.3
4-
d=
^ j^f
strings.b)
v * T "^ * ^ * i T "*
Saiten.
b)
b)
o^ze
w ^^iffp'n
^
i
in
m
IV
4
* *
--
nr
i *==*
nr
W 4:
i
n
in
nr
> *V#
1
'
:25
Wpf
#* W=*
=*
nr
n
p.
-
W-
:-*
42.
-
1
n
nr
n
nr
jv
P
Sevcik Op.ll. XIV
# f
ii
i.
E
nr
V f
is:
nr
rv
64
c)
c)
c)
de la 2me-ia
5me
position
F -F# ^
;
oIH
.J.
n
in
-+
-&-
IV
d) in
in IV
d)
d)
in
hohen Lagen.
dans
\>^f\h^ s
l l
t-a-PF '
I
-8-
_i
n .n
W K
i
?
21
S"
++*
T+
fi*i
^T>
g-
:-F-#
-^
o.
:e
o.
.:
m
Sevcik Op. 11. XIV
n
in
Abreviations et Signes.
Division de l'arehet au moyen de
fractions
l i
i
Bow
i
by means of fractions:
7
1
Whole Bow.
Half Bow.
First Half.
I
i
Ganger Bogen.
Tout l'arehet.
2
1.
3
1.
Halber Bogen.
Erste Halfte.
2
i.
Demi- archet.
Premiere moitie.
Seconde moitie.
3
3.
3
3.
3
3.
3
1
Second
Half.
3
1
Zweite Halfte.
3
1.
3 3
3
1.
One Third.
Un
Two
Thirds.
3
3
1.
2
5
l. 3
Deux
3
3.
Firtst Third.
3
3.
Erstes Drittel.
Premier
3
3.
Second Third.
Third Third.
3
3.
Zweites Drittel.
Drittes Drittel.
3.
3
3.
Deuxieme
tiers.
3
1
3
1
Troisieme tiers.
5
3
One Quarter.
Three Quarters.
-
4
3
Ein
3
I
3
Un quart
3
de l'arehet.
4
|- |-
4
1.
4
1.
1-
4 4
3. 3
"
I'
Quarter.
4 4
3. 3
'
Deuxieme
Tirez
troisieme quart.
H
V
Down-bow.
Up-bow.
*)
n
V
n
*)
Hinaufstrich
Poussez. 1)
Broad Bow.
Short, detached (staccato),
Largement.
Bref, martele (staccato)
hammered
"
(sautille;
)
(martele).
Springing, bounding,
spiceato; saltato).
)
Springend, geworfen
spiceato)
(sautille';
"
Sautille (spiceato).
Lift Bow.
Bogen
Jieben.
Levez l'arehet.
Kunstpause (Luftpause)
First String, B.
2
)
Kunstpause (Luftpause) s)
Erste Saite, E.
Zweite
Saite, A.
Kunstpause (Luftpause) 8)
Premiere corde, Mi.
H
HI
Second String, A.
Third String, D.
Fourth String, G.
3
)
H
HI
3
)
Deuxieme
corde, La.
m
o
Dritte Saite, D.
IV
o
rv Vierte Saite, G.
P7
o
Quatrieme corde,
Corde a vide.
le
Sol.
3
)
Open String.
Leere Saite.
,
Sul E
l
Sul Mi,_Sur
l
i
mi.
Retehez
le le
The
little
finger
is to
c/ien
Retenez
crochet.
M.
Fr.
M.
Fr.
Milieu de l'arehet.
At the Nut.
Am
An
Frosch.
der Spitze.
Au
A
talon de l'arehet.
Sp.
Sp.
la pointe de l'arehet.
1)
*)
Unless otherwise indicated, the first measure begins at the nut. Lift Bow and make a brief rest. No practising should be done on strings
not true in the fifths.
*)
~) )
Ohne Bezeiehming der Sichtung beginnt der Anfawgstafct immer aw Frosch Bogen heben und kurze J>ait.se tnachen.
*)
2
)
3
)
ment
justes.
CONTENTS OF
SCHOOL OF INTONATION
By
OTAKAR
OPUS
SEVCIK
II
ARRANGEMENT DES
Partie I
"
Introduction to
1st 1st -1st 1st
Part
Position. Position. Position. Position.
1
1
Ila
lib 1 III
III
.,,* c . Supplementary*
rhythmic
"
IV
IV
VThe
Major
Scales from Parts Ila and lib. Pieces (1st position, Grade I) with piano. 2
"
Introduction to the 2d-7th Position. Supplementary: Parts lib, III and IV; also the 2d violin to
the 29 Duettinos
"
Einfiihrung die erste Lage. Lage. Lage. Nebenbei Lage. vorzunehmen* Lage. *Abt. V Die rhythmisierten DurTonleitern aus Abt. Ila und Vortragsstiicke Lage, mit Klavier. Stufe Einjuhrung die Lage.
in
1. 1. 1.
"
Ik ZpS n;l
III
Matieres
1.
IV
lib.
(1.
I)
in
2.-7.
"
Position. taires.* Ire Position. J *Partie Les Gammes majeures rythmiques des Parties Ila et lib. Compositions (Ire position, Degre I) avec piano. 2
|
Ire
Supplemen-
Introduction
sition.
a la
2me-7me PosupplemeniV;
Dazu: Abt.
from Parts
I,
Ila
und. IF, so<wie die zweite Violinstimme zu den 29 Duettinen aus Abt. I,
lib,
III
Matieres
taires: Parties
lib, III et
and
"
"
lib.
Ila
und
lib.
2d-7th Position. ) c i_. t ,^+ Via Vlb -2d-7th Position. \ Supplementary f40 Bohemian Melodies in the 2d-
Via Vlb
7th position.
"
n Dazu *
.
Weisen
in
der
" "
Via Vlb
2me-7me 2me-7me
la
Vic
VII
VIII
2d-7th
Position.
40
Bohemian
:
"
"
Vic Ill
"
Vic
VII
VIII
2me-7me
2me-7me
"
"
"
IX
"
XI
ing).
VIII
-r2.-l. Lage.
"
j-
Supplementary
IX
"
X
XI
"
XII s
W. A. Mozart, Sonatas for vioand piano, No. and others. 2d-7th Position.Introduction to
4, 7,
\
\
Dazu
X
"
IX
XI
2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. taires. Partie XII Le second violon
1 f J
(Introduction au demanche).
Abt.
XIIDie zweite Violinstimme aus den 40 bohmischen Weisen (Abt. VIc).W. A. Mozart, Sonaten fiir Violine u. Wavier, Nr. 4, 7, u. a.
Lage.
des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Sonates pour violon et piano,
"
XII s
2me-7me
tion
Nos.
4, 7, etc.
Position.
Introduc-
Shifting.
of
W.
"
XII s
*
2.-7.
Einfiihrung
Dazu
:
others.
Lagenvjechsel.
den Sonaten
in
4, 7, u. a.
XIII* -Transitional Tone used in Shifting Diatonic Scales in a Variety of Forms through 3 Octaves. Supplementary Concert-studies Rode, Concerto No. 6; Viotti, Concerto No. 23; Pieces from Grade III.
XIII 4
Lagenverbindungsion.
:
Diatoni-
"
XIII*
Note
de
transition.
Gammes
Form durch 3 Oktaven. Dazu Konzertstudien Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstiicke aus der 3.
Stufe.
XIV
-Intonation of Double Stops. Supplementary: Continuation of Concert-studies and Pieces from Grades III and IV.
1
"
XIV
Intonieren
"
der
XIV
Doppelgriffe.
Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jederdie gleichen sind, konnen die rhythmischen Uebungen aus Abt. Ila und lib selbstandig vorgenommen iverden, ohne mit den gleichlauf enden Uebungen fiir die linhe Hand gleichen Schritt zu halten. In diesem Falle jedoch sind diese Bogeniibungen bei den jolgenden Abteilungen nachzuholen.
Concert: Rode, Concert No. 6; Viotti, Concert No. 23; compositions du degre III. . Intonation des doubles cordes. Matieres supplementaires: Continuation des tudes de Concert et compositions des degres III et IV.
1 Because the sense of rhythm varies in individuals, the exercises in Parts Ila and lib may
Da
mann
be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
Parts.
importance for the beginner to with piano accompaniment. The difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intonation, proper crescendos and decrescendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompaniment. 2 To be studied concurrently with Parts Via, Vlb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, X and XI.
It is of great
1 Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ila et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes.
play
frequently
ist
f'anger
von grosster Wichtigkeit. schiedenheit zviischen Geige und Klavier, die vollen Harmonien des Stuckes, die feine Niiancierung in der begleitenden Klavier stimme leiten und dr'ingen den Anfanger zum reinen Intonieren, zum Anschvuellen und Abschviachen, zum A kzentuieren der Tone. Er viird geradezu gezvjungen den Ton schon zu bilden und das Musiksliici geschmacivoll vorzutragen. Deshalb kann man schon neben Abt. II IV entsprechend leichtere Heine Stiicte mit
Klavier vornehmen.
2
2 Pour le commenjant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intona-
tion juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tous ces details le forcent a cultiver une belle sonorite Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer l'etude de pieces exercices faciles avec piano conjointement aux des Parties II-IV.
3 A etudier conjointement aux Parties Via, Vlb, Vic, VII. * A etudier conjointement aux Parties VIII, IX, X, XI.
nehmen.
*
und XI vorzunehmen.
Music Department
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