39 4th Position 124 424 3 4 pe ey ae eee pia’ 12384 4a 8 f14% a4 aN O13 4 4284 S374 2346 Sia MS Ae AN glauca Saat ets Ay Lema narem OU seek anata ea goa sha ep anaes att eae peg tare a SSO NS te NSS ee o a1 6 5 +0 Obes «a 7 2 2a X In making the change from the first to the fourth position, the first finger should be drawn closer toward the fourth finger, and the second and third fingers held high. In the change from the fourth to the first position, the fourth finger is drawn closer toward the first, and the second and third fingers are held high. The student will find it helpful to establish the right place of the fourth position by slightly touching the side of the instrument with the lower part of the hand. MLM. 51Daily exercises in the First Position The following finger exercises should be practised every day for about fifteen or twenty minutes, Two notes to one bow, or four notes to one bow, from frog to point. The fingers should be lifted as high as possible, and dropped with forceful, hammer-like stroke. > tee Gr — Ofse O8 af Of8f OF aa 02200880 O82 OF 27 vO4 Ov s (ure aa Ong ge oata O10 2 ° = mines ae oe Be ovo X This exercise to be played with fingers lying flat on both strings. X Combined motion of the arm and (a slight) wrist movement. MMLV-61Second Position Before moving out of the first position, the half-note exercises help to acquire skill in changing the fingers on one note. In using one finger for playing notes in succession, its pressure during the slide from one note to another should be equal to the pressure ex- erted in playing each note. In chenging from ons position to another, the thumb always maintains its position under the neck of the instrament and opposite the second finger. Dexterity in changing positions is the basis of good left hand technique. 2 1 hort rt rt ot in ——T Pacts as grace note toG Ff acts as grace note to E WN. 843rd. Position 3 4 eS — 2. = O404 siag a ~ 1348 1843 1845 4 (@ #\ 626) 0404 0124 O804 Hist Ota fato o13i ta19