The Essentials

"f
SEVCIK
Opus 2 School of Bowing Technique

transcribed and abridged for

DOTJBLE BASS
by

Neil Thrlton
 John Bass 1935 - 1996
To
A good friend and wonderful double bass player.

Introduction
by Emanuel Hurwitz

For nearly a century the exercises by Sevcík have been studied by violinists, violists and
cellists (the cello transcription by Feuilliard in 1905). So it is a pleasure to have the
bowing studies Opus 2 adaptedfor the double bass by Neil Tarlton. These exercises are
of great importance to all string players desirous of improving bow control, which is,
without doubt, the key to easy and confident technique.

The Student who practices these studies with intelligence and application will (I speak \' \

pupils' experience) find their general control, and most impor- '
from my own und -y
tantly, tone productión, improving audibly in a remarkably short time. So,I am happy
to introduce this book.

t
Foreword
by Neil Tarlton

Sevcik Op. 2 offers a carefully graduated system of practice which enables us to experience and
develop every aspect of the bow in all degrees of intensity, dynamic and speed.

In individual and combined study of the wrist and arm through double-stopping, staccato and
constant attention to the whole bow, we get used to the rarer extremes of bowing, giving Sreater
competence with the more usual areas of the bow.

The study of the bowed staccato, although little used in the music we play, gives us a very real
knowledge of a bow that has no two like parts between frog and tip. The ever-changing distance
betvveen right hand and string, coupled with the fact that every note in the scale has a slightly
different sounding-point, make it essential that that knowledge becomes prior knowledge.

The many studies involving double stops show that Sevcík must have thought there was more to
be gained than just the ability to play two notes at once. The more obvious needs to be satisfied
here are maintaining a very level bow, especially at the bow change, and the physical effort
required to play loud and slow on two strings, with an even sound.

The whole bow, in these studies, means from frog to tip and no less. The shorter sounding notes
should have an even pressure, and throughout, care should be taken to maintain the chosen
dynamic level.

The demands on the left hand are kept to a minimum, and the studies are usually just long
enough to make a particular point feel practised. Concentration being thus focused, good habits
should form rapidly and many everyday bowing problems diminish leaving the player, when
performing, to devote more energy to the music instead of to the dfficulties.

Neil Tarlton is Principal Double Bass of the Philharmonia Orchestra, London, and a Professor at
the Royal College of Music.

Puî[irations
Cfr,ance
L CentrafDriae
St. A[6ans AL4 0AA
Eng[anl
 Contents

Part L: Exercises for the Right Arm Page 3

Studies L - L1

Further Exercises for the Right Arm 2I

Studies 12 - 19

Part 2 : Exercises for Wrist Development 36

Studies 25 - 26

Arpeggios on Three Strings 50

Study 32

Arpeggios on Four Strings 64

Study 33

Abbreviations and Signs. Ab ftirzung en unl Z eicfrzn. Abréaiations et signes.

W, Whole length of bow. W. Qanzer Eogen. W, Tout l'archet.

H. Half length of bow. H. i{a[6er Eogen. H. Moitié de l'archet.
Lh, Lower half of bow. Lh. llntere 9{iitfte. Lh, La moitié inférieure.
u.h. Upper half of bow. u.h. O6ere t{ri[fte. u.h. La moitié supérieure.
1/3 B. One third of bow. 1/3 B, Ein Ditte[ les tsogens. 1/3 B. Un tiers de I'archet.
fr. Frog end of bow. fr, Am froscfr les tsogens. fr, Talon de l'archet.
M. Middle of bow. M. Mitte les tsogens, M. Milieu de I'archet,
pt. Tip end of bow. pt. Spiue lzs tsogens. pt, Pointe de l'archet.

M'k In the middle, and then at

the tip and at the frog.
M* In dzr Mitte, lann an ler M* Du milieu, puis de
Spítze unl am froscfr. la pointe et'du talon.
- Down bow. - Herunterstricfi. 11 Tirez.
V Up bow. V !{inaufstricft. V Poussez.
Broadly detached. Ereit stofen, Détaché large.
' Staccato or martellato. . Staccato oler marteffnto. . Staccato ou martellato.
v Spiccato, saltato or sautillé. t Spittato, sa[tato oler sauti[e. I Spiccato, saltato ou sautillé

Raise the bow from the string.

i 1 Eogen freben.
) Leaer I'archet.

Cfiance Pub [icotions 199 7

 Part I (section 1). Erste Abteífung 0{eft 4. Première Partie cahierl).
Preparatory excercises. 'l/orii6ungen. E xer ciczs y ep ar at otr es.

Practice the following example with very
little bow-length: a)in the middle; b)at the
tip; c)at the heel. During the pauses allow
the bow to rest on the string and count
the beats of the bar out loud,
No.1
Man iite las foQenlz tseispie[mitganz On trauaillera I' emple suiaant
wenig tsogen a)in ler Mitte, 6)an ler aaec taespeu d'archet a)dumíJieu,
Spiue, froscfr.'l'lti.6renl ler
c)am lPausen b)de ln pointe, c)du talon, Pendant
len Eogen auf ler Saite [iegen les silences laisser I'archet à Ia
fassen unl [aut len taft ztifr[en. corde et compter à hnute aoix.

Example
EeísyieI
Exemple

No.2
Movements of the bow. fiifr.rung les tsogens. Mouaement de I'archet.
Play the 18 examples below without Die untenstefun[en 18 Eebpie[e sinl Exécutez les 1.8 exemples ci - dessous
raising the bow in the following VI styles auf ftogenle UI Arten auszufiifrren: des Vl manières suioantes.

Whole bow.
Mit ganzem Eogen,
Tout l'archet.

Half - length. Ill..- V - V tV. n V

Mit
Moitié
fraIímttsogen.
de l'archet. ffi
Bow-middle. V |l V - V 11 V - V
-y1.
nVnV -V-V
ur.:.-rr
:n :, :es'.óoryens.
uutnuteilaetnrcnet. + + + + +J++J+J+
Examples. tseispiek. Exemples.

*) First with the lower and then *) lorè:st mít ler uîLtereft, narfr,fur *) D'abord aaec Ia moitíé inférieure
with the upper half of the bow mit ler oberen 9{rilfte. et puis aaec Ia supérieure.

@ 1901 Eoswortfi ú Co. Ltl.

Lfris Elitíon @ 1996 Eoswortfr ù Co., Ltl., Lonlon
erinte I w it ft p ermis sia n
 No.3

Rhythmic exercises and qyfuníscrte ilíungen unl Exercices rhythmiques et

dividing of the bow-length. Einteilung du Bogers. diaision de l'archet.
Example with 57 variations. tseispíef mít 57'laianten. Exemple aaec 57 aariantes.

Sostenuto

Variations on the preceding example. 'laianten lu uorfrernertenfun Reís pieb-s. Variantes s ur I' e xemple p réqéden t.
During the pauses the bow must rest on the string Wriftrenl ler gausen len Eogen níút fu6en. Pendant les silences laisser l'archet à Ia corde.

(J =66)
,rnv
Whole bow.
MitganmnEgm
Tout I'archet. {}
W. W.

3nV 6n

W.

W. W.

y (J =66) tó

ChnrczQuí[katiors 1997
 16
(J =66) 19(J =50)
Half bow-length.
Mit fin[íemEogen.
Moitié de I'archet.
H. H. n. H.
First with the lower, then the upper half of the bow îlit ler untercn,[ann mit oberen !{riffte Aoec Ia moitié inférieure,puis aaec la supérieure

20 () =66) 2t

25() =66)
With half and whole bow-length.
9Vít fra [6 en unl g ara em E og en.
Moitié de I'archet et tout I' archet
W' u.h.

27 29

W.

)L

At the bow-middle.*)
T () =66) 34

lv{it ler Mitte lu Eognes.*)

Dtr milieu de d'archet.*)

(J
4on =66)

W, W.

44

t.h.

47
() = 66) 50 1/3 B.
With a third of bow-length.
to{it einem Ditte[ lu Eogens.
Aaec un tiers de l'archet.
a) ír. fr. ír. fr.
b) M. t/3 B. M. 1/3 B M, t/3 B. M.
yt. pt. pt.

W. fr. W. pt. W. fr. fr. riV. pt. W. fr.

*)2nd and 3rd quarters of bow-length *)2tu unl 3tu'lierte[ lu Eogens.
*)2me et 3me qtLart
de I'archet.
C hntw Pub lica ti o trs I 9 9 7
 No.4
Study in minims with 75 variations. Etude enblanches naec 75 aarisntes.
Etule in fiafíen foten mít 75 I/aianten,

Andante

Variations. Aaianten, Variantes.

Whole bow-length.
1J =so; 3 (J =50) 4
(J =80)
MítgaruemEogen.
Tottt I'archet.
W.

s (J
7 () =60)

W, W. W,

t5 1J =AO; t6 17(J =50) 13

( J = 80 )
Half bow-length.
Mit ha[bemEogen.
Moitie de l'archet.
H. IJ H. H.

2l 22 25

H. H. H, H. t1. H. .H. H. H.
First with lower, then with upper half bow. Mit ler unterery lann mit ler oberen t{d[fte, Auec ls moitié inf&ieure, puis aaec ln ntperiettre.
Cfrarcc?uí[imtioru 1997
Whole and half bow-length.
Mit g aruem unl fra[6 em E og en.
Tout I'archet et moitié de l'archet.

W. u.h.

t^^.
34 (J=EU) ,t
At the bow-middle.
Mit ler Mitte lu Eogerc.
Du milieu de I'archet.
M.t/3 B. M.tts e M. tts a. M. tts a M. us a.

tJ =80)

W. W. H. H. W.H W. t.h. w.

(J =80)
54 W. W, ssry W. 56w
Staccato

62 65 tts a.
Wirh a third of the bow. z
Mít eircmDitte[ lu Eogers.
Aoec tm tiers de I'archet.
fr. rs a. fr. ils B. fr. tts A. 1/3 B. fr.
M. M. M, M.
pr. pt. pL pt.

/. W. pt.

(.J =80)
72
Y71v n V 73n
Dotted crochets.
Qunftyiera'l/iera[.

t.h. w. u''I'
Noires pointées. | | ,th
w.

CfrnneQub[batíors L997
 x No.5
Detached and hopping Strícfinrten mit fieg enlem CouW ilmchet detndrc
styles of bowing. unl spingenfem-tsogen. etrfundissants.
Study in crotchets Ewle in'l/iertefn Etude en noires
with 260 variations. mit 260'l/arinnten. auec 260 aariantes.

Moderato

Variations. 'I/aríantu, Variantes.

1J =oo; 1J =as;
Whole bow.
2;
MítganzemEogen
TotLt I'archet,
W. W. W. W. W.

(J =88)
,I
(a
1J =oo; =
A_
Half bow. ó
a
Mit fra[íemEogen. F
Moitié de I'archet.
H, H, H, H. H. H.

1J =oo; 1J =ss; (J
Bow-middle.
l0:. =
Mit ler Mitte.
Du milieu.
M. tts a. M.tte a. M.tts a, M.rs a. M. ís a.

í;ì\re
W. W. W. u.h. Lh.

al 22-ì aa r.-\
W. u.h. W. Lh. l.h. W. u,h. W. W. W, w. l.h. W.

2sJì: 1f;26^t c*7.. í-l--- :î-...

=

u.h. W. W. W. u.h. W. W. W, w.

C franu eub [iratío rs 1 9 97

 (J =8s)
Third of bow-length.
gv{it einem
Ditte[ les Eogerc.
Aaec un tiers de I'archet. fr. nt fr. nt
Mi,, Mi''

w.

1 J = Aa; Preparatory exercise

Dotted crotchets.
Punrtyíute'/íertz[,
Noires pointées. Préparation w.
'l/orù6ung. W.

46 :-'.

W. W. H, H, W. W. W. -'.--
W.

(J =66) ,I
1J =oo; \a = 12)
50 -íl .-\ --. ) ^ ---
:."+i:',''CL: sa.--\
5l- 55 i-.'-\ R> ,Gì
Staccato
W. W. W. W. W. W, w. w. W,

l-\ a---\ G>57jì\

- ^-\ 60 or.S. oz .fr> o:;i$6a. ,'--- --

. ào);
V
í-à66;--\
-.
W. W. W. W. W.W.

1J=ttO;
7>
Very little bow.
MítwenigBogen.
Aaec peu d'archet. M* M*
M*
In the middle, then at the tip In ler Mitte, dann an ler Du míIieu, puis del Ia pointe
and at the tiog. Spitze unl an frosú. et du talon,'

w. w. pt. W. fr.

Cfrarcceuítimtiors L997
 10

78 .--r - -

W. W. W. W.

() =92) 1J = r ro;
From the wrist only.
Mit lemt{anlge[enft
Dtt poignet seul.

fr. W. w. pt. W, W. fr. W. pt. W. W.

=93

W. M*

fr. w. pt. W. M* w. pt. W. fr.

1J =asy 106
Syncopated legato-notes - ..-103 ;;i) ,-.104;íl-., -.-\ 105 jí) í--l\ G
Synfopierte Einlungen.
Liaisons syncopées.
W. W. W. W. W. W. W, W. W, W.

-ì l?i)108 Jì,,- roefl:,4-.r10;î\ II f=i>r rz;fi---

W. pt. W

rr+;ffi;
W. W.

tJ =88tn
Dotted quavers.
118 ; Itoi'i;----. V n ,'?\ 121:^\
Qunfrtierte Aúte[
Croches pointées fr.
M.

W. pt

L rutnî.e'f u D ltc0flo ns l vv /
 11

129_,--\
z = !l',- l27l i ^

w. pt. W. fr. pt. W. fr. M* W, pt. W. fr.

130 lll
a---\'-- <--t3z;f1q-{.rr \ 134 :--\ '
t^-^
lll .
- -\'-- +'+)^\

W. w
1J = tO+;-1.rY little bow-hair
136 ii : -.
: 137
Staccato from the wrist.
Sta$4to mit leîfl t{anl7 ebnk
Staccato du poignet.

W.

148

( J = 126)---

1J = ro+y

M* M*

W. W. W. W.

Lrunte'fuDuttnofls tvv/
 12

W.

J = tO+; V Preparatoryexercise'
a=
Viottis bowing-style.
1
lel i:. :--l a> !e2z :- ,-----ì ra f-= ,'=
'/i o tti's E og etu tridt.
Conp d'archet de Viotti
,l/orùbung. W. W. PrEaration. W. W. simile

/-
t93 r-l .= r;-l re4l i-< :-<ro-sl;-i ;-t .-'- a-; l=
W. fr. W. W. simile

Stroke as if thrown. v,198

Werfenl.
leté. fr. il.
M. M.
201

Ill.spiccato détaché fr. tr.

M, M.

204t I

Y
I

fr. fr. M, M. M.
M. M.

,r^ .|() =lD)

v-'- r

11?,'---\
!!r v v | 220

fr.
M.

1.D = tool
221
Hopping. fIfYY
Springenl.
Satúiilé.
r? '"'' Erste î@te nicrtt werfen. Ne jetez pas Ia premìère note.
l{anlge[enft Poignet

Cfrance Pu6 títatiors 1 997

 ì.L.1,.1,r!!!r r r v

1) = no)
Flying staccato.
T-'-zze î:-
. '!-\i"'
ror I fr-:228 ^ ,Îì-=:l'j-:
f[ítgenlu Starcato.
Staccato oolant.
W. W. W. W. W. W,

230 } :
î-- I V I
o:t
- LJL
:--\ LJZ 233 7------ .î/
-<-) i. r ! ! | | zJ+e^ )
^

W. W.

(J = 120)
235 ÀIt r ' I
230 n2 J/ r r
Thrown staccato.
Qeworfenes Staccato.
Staccato jeté. M. sciolto balzato

Y tao
() =s2)
239 llrt' ll
t^--
;íiL ' ' ,;lot) .,
ààr'lrr'
^
a/a
alLl ^ | |
+++a
\ VV
ífì ííì

)45
244 !vn f lllFt
246nV
4^ -r'rr-
Down-stroke at the frog.
Im t{erunurstríú am frosú.
En tirant du talon. fr. fr; fr.

1J = tZO),, .)Ac
.^1 v v ,YV---.-YV
L+t.,..
.:-JlY!v \/ ..
Up-stroke at the frog.
tm t{ínaufstriú am frosú.
En poussant du talon. fr.' fr.' lr.' fr. fr.

( J = 104)>
Up-stroke at the tip, as if striking.
2s0 l 252

Mit ler Spiue im t{inaufstriú- arc úkg en.

Frappez de Ia pointe en poussant.

Crescendo-
253 ;íì\ .G> :----: .4:54 :-: ,aì
decrescendo.

?"?^ff fff*f p sp lf p
-p
3ru1---\ p_

pp p ^f Í tr f *ÍP p r f
M. zsgw:-
-, -p
-
pp p< Í _ p
M.
t4--\ fr,

pp Í f
-P -P
Cfranu Qu6 fícatioru 1997
 I4
!. No.6
Study in quavers with Enle in Acftte[n mit 163 Etude en croches aaec 163
163 changes in bowing-styles. '/errinlerung en lu E ogeru tricfres. changements des coups d'archet

Allegro Moderato

1) =sz1
Bowing ,tyt.r..]
Stritfrarten.
Cotrps d'archet'. M* M* M* M*
1/3 B. 1/3 B, 1/3 B. I/J ó.

í\ :\ 7 lZ,' = - -í\ = 10=i:r =_=

W. H, W. H. Lh. W. u.h, W. W. H. H. W.

_12=;-;.=Z =í\13 jA\ j--\14;-f,-:;_ 15 <-î--

H. W. W, W, H.

Z\i-
^ -

pt.W. W. pt. pt.W W. pt. pt. W. fr. pt.

2..
22
; íì: - i-;\ 23:7ì> = .:--ì> 24= jíì\ =_ = 25 .-=-:

W. W. fr. W,

C hane Pub ficatíons 1997

 15

G> = - :T\27è í;:Z .--<8 ;-?;:> :-;\ 2s :7:> :2].. 30 :T> 4\

<íT:-- ..n r ^ 35.;

= 32 JJ= -
-l
- = J4a ^ > z^
;.:î-..

37 - :--,--.-\
"--.;----=-
W.

1) = 126)
From the wrist.
Mit lemg{anlge[enft
Du poignet.

49.-:Î-r <a /-'

w.pt. w. pt.

(J=l16)
--<-\ í--\ 55:Z-\ .: 56 .t' .-<- 57 a)

(J = 108)

W. fr

C hanre Q u 6 [ícatío rs 1 99 7
 r6

tJ = l08t (J = 126)
Preparatory exercise.
Dotted quavers.
74 75 ;l$;.í-x 76777:71.:.L 16r -L
Punfrtierte gúte[.
Croches pointées. M. ilorii6un8. Preparation pt.

(rl,M.104)
=
80a-:-- r .r 8l o. .. --'-
. 9L a.?2. z=. l-. ì Òr=.i
--\

w. pt

Mx W.
-\ssj_--.
1/3 B

z-\. tló E.

M*

sA-! B' l/
s
3^ B'
..

1J = 1081

Syncopations
99.'-r- G,-l-:r î a i-, ,199 î.r r.-
Synkopen.
Syncopes.

ùn- :Z-ì-_i03=^3iì î .-\10.1=:5).=:-r ^ :-- - ^105=

t \ rr
,^I .-\ /--..-\
a l- - \
-

W,

107>
-----l
W.

1) = nzlr
l14, r =:-1, , , I
Spiccato.
M. ?
fr. î
=a-\ I r =;rll7- í:> >2\r,)^
---1-\

M. M

122
a :T> 1)A

M. M.

! t ì:v ,t27!ì f-{ r. , 128!7 i-1 :-' r .\l2b:ì\

fr. lr. lr. fr.
M, M. M M.

CfinrcePuífímtiors 1997
 17

--T-.131
--:rt H=j-\
j-j. >--\ l33J^r \,! ,;ì;l
fr. tr. fr.
M. M. M.

-1 136, 117 ^ 138 íì l tt

fr. M, jetez M.
M.

1J = ro+)
l-) r i-l ll vl 140 YvI
Y
v
Lllr !l!Y

, , ,l!4
Saltellato =LLLj,i
Satttillé.
M. sautiilé

(J = 100)

1) =sz1
At the frog.
r48 !l: I ! I !...lonllI y I y I u'tlll: ! !I- !,.151!I*y u !==v I v
:4m TrosctL
Du talon.

, J
ts2 l -í-\ :\,
=;p+l -\155 y
Strike with the tio.
Mit
nt
ler Spiue arscfi[nqen.
Lrapper ae n potnte.

Crescendo-
decrescendo.
pwÍ p
WP
T
staccato - détaché
- -
M.p
r f T'

r60 à^:-r :l ;r -p rct fr:.î\ .: ,'. W,

M.p
f ? f p

- Pt. r.

r pp
r ?
Ltunîe'Íuo t[aflo ns ]. JJ / -
-
 l8
No. 7

Study in quavers in 6/ 8 time, Etule in Acftte[n (6/ 8'Íaft!) mit 91 Etude en croches (mesure 6/ B) auec
wìth 91 changes in bowing styles. 'I/errinlerung en lu ts og ers trícfrzs. 9l changements des coups d'archet.

Allegretto

1).=ee1
Bowing-styles.<l
Striúarten.
Cottps d'archet
=*.' H
'ln W.

8/2- 9 í-....--.. lo

>
"t W
W

lo

H. W, W, fr. W. H. W. H. W.

22 -- ----,-..-.'.-\ ---:"---- -
--
W. W. W. pT. w,

1 ) = teS; Preparatory exercise

Dotted quavers.
gunftlierte AcÍa[.
Croches pointées.
W' '/orú6unq.
Preparatlon.

^31 =

Chane Puú [íca tio rs 1- 99 7

 10

\/ F
a1 -v v _v39

t.i. M. M. t,h. tj. M.u.h.

.l
(J.=/O)
42
From the wrist.
Mit lemt{anlge[znft
Dtt poignet
M*
tJ.=oot
4t 3

M*

57

Dotted semiquavers.
Qun@ierte Secrtzúnte[.
Doubles croches piontées.
W.
VV, nl
W- W,

62 or+

-v'pf
W. W. fr. W' W.W r"
nl-
w.

f-68G 70

u. t.n. w.

t.D = rosl
15

Ue M,
tr.r fr.

/-tt-
'7R
nV Y Yao

-'-'/
hi M. 7.
,--
'^ - l"-
R)
^R4 85
^íìv86
itv
M.:
tr. ú it

sautiilé détaché sautillé sptccato

Saltellato
SatLtilV

(J.=66)
903

M. détaché JJ3
détaché

Cfrarce Puú [ications 1997

20
No.8

With the bowinss of No.5. Mit Stricrtnrten atu Afu.S, Auec les coups d'archet duNo.S.

No.9
With the bowings of No.5. Mít stríúnrten aus fo.S. Aaec les coups d'archet du No.S.

C úatrce ?u 6 [ica tíoru I 9 9 7

 21

i No.12
Study in Triplets with 76 Enle inTio[enmit 76 Etude en triolets aaec 76
changes in style of bowing. '/er rinlerung en lu E og ers trícfres. changements des coups d'archet.
Allegro

All the bowings marked M* Atte mit M* íezeicftneten Traaaillez les coltps d'archet
to be practiced in the middle Striúarten in ler Mitte, malques de M* du milieu,
at the tip. and at the frog. an ler gpitze, unl am frosú ù6en. de Ia pointe et dtt talon.

Bowìng styles.
Stricfrnrten.
CotLps d'archet

LruUrce'fuoucanons tvv/
tl
. = 104. ) =l2o,J = 13g,J = tos )

q . é-+; lo i?>' .- 12
-.---
= l)ì --. =;>.=

í);---'. aíì= 201îì7 -

M* 1/38. Mx 1/38.

26 a;)

/-? Z
34 2.e'.ì ,^>
35l. 3ó ìiil

LMîW'rU0UCîttOnS tyy/
 L-)

1) = no)
45
>r">
LILL} 462 - 4'7 /-- :< 4g _ ^í-ì\
Sciolto
balzato
Spiccato

M.
rP
a-. : z-\ Ir>
49 >
a-\
!r
50
rlr,
fr. M

(J=lo8)
-;ì I 66 :r il5 r ,' ,, 61
z+5! q,, 68
= iiù ,,

M. sautilb

1J=tro;
-^ staccato
69 W.e ------=\tu ^e-
Crescendo
Decrescendo
M. détaché
Í-P P f-P

f pp
/.:-- 74

ll tr ,,

splccato M. satLtilV
pp
L rulnce yu D I rcífl 0 L< -I
y :1 /
 aA
\ No.13
Study in Triplets (3/4 time) with 71 Eale in'Tio[en p/afafr1)mít 7L Etude en triolets (mesure 3/4) aaec 71_
changes of style in bowrng. 'I/er rinlerung en l es E og eru trí crtes . changements des coup d'archet.

Allegro

Bowing-styles.
Stricrtnrten.
Coups d'archet

/--.

W.

tZ ,î--
W.

=126,)=144)
í)- ^
16 17
=-î- - t9-l--r

M*

LturwT u0uunons tyy/

 25

21 4;71 -
w. pt.

1A >- -->

44>

1J=120)

48_ 49'

M, M,
fr. fr.

53, r-l
M, M.

58.?>rr
M.

oJr t, t- 66 --+

iJ=1121
67
=-í\ = 69_

M.

C franrz Pu 6 [íca ti otrs 1 99 7

26
, No.14
Study in semiquavers (6/8-time) Etule in Secfrzehnte[n (6/S Íaft1)mit Etude at datbla crulw (rnaae 6/ 8)
with 64 changes in style of bowing. 64'/errinlerungen les Eogersticrtes. rtw 64 ùmganerús da oup d' nrhet.

Allesro Moderato

Bowmgsyles
Sfficrtarten.
Caqnd'ordú.

t-;--

W. W.

(.1.=63, l.=76)
>
t/3 B

.J
i,
 21

W,

-.Îf-_
Mx PL, W,

34 36a

r
nl

41 tJ.=63)
Sciolto
baLzato
Spiccato

47 fr.

M. îú!7 "
50 tr.

M M

55 56

rfr-í
M,

59n

ì ,. ^JJy
tù ^
M.

62
.^r)=net
o-J

L harc.e'yu 0 uratto ns 1 y y /
 28
\, No. 15
Study in semiquavers (31 4 time) Etule in Secfizeftnte[n (3/ 4 Íaft! mit Etuden m doubles uoches (mesure 3/ 4)
with 68 changes of style in bowing. 6 8'I/ er iin I erung en le s E og ens tr ic ftes . aoec 68 chnngemmts des coups d'nrchet.

Allegro Moderato

CTCSC,

(J
Bowing styles.
Striúnrten.
CotLps d'archet.

--1----.
=l--'.. s;l:--
W.
W,
rJ _,| 04, ) =il6)
9 t\ ,^ fi;:.;r 7-' -

M* fr. fr.

>- >,\
t3 a2 ^>
- -\>
14 ap

M*

lt -

L tutnce'vu0 tt aflo ns l-vv /

 29

W,

334 = .-----l =--

= .-:+ 344

Moderato J = 92
4 LLLLi- $ îc.î) 44- í;> )
Spiccato
M. M.
lr. fr.

4s íÌ2LL, il î?.4Ì\

fM ?

r:l r

fr.
M.

)t t
- ..-\60 íi7)À =.= ,

M. fr.
M.

lv ;l I 63í->i:l
fr.
M.

1J =a+; 1) = rsz;
66ji i ji.3 i v-! -, !I vv
67 LLLL)
M. sautillé

Ltutnî.e',luo umnons lyy /

 30
.\ No.16
Study in semiquavers (4/ 4 time) with Etule in Secfizefrnte[n (4/ 4 taftj)mit Etude en dnubles croches (mesure4/4)
131 changes in style of bowing. l3 l'/er rin lerung en les E og ens tricfrzs. aaec 13L dangemaús des coup d'arúet.

Allegro

(J =92,4 = 108,J =126,J =152)

1*) 2
Bowing styles.
Strbltarten.
Coups d'archet.

30

* ) The second half of each bar exactlv like the first. Die zueite,Tafufrti[fte eíenso ,l'liz liz erste. *) La seconde moitié de la mesure
de méme que Ia première.
C finnce lPu6 [icatioru 19 9 7
 3l

'----/
Mx

p-
- .îtaccaÎo
pry

5l l,tt. 52w

tt v

Lnnrce'l:uD ucanons tvv /

 .1L

(.J =s8)

Dotted semiquavers.
80 nV 81yn-.-82
ew{Airte*rúzertuaI
D oubles cr o ches P ointées. t.;
frl
''' nt
M

84

-.- MM
Lh.
M.l.h'
90

ír;-1-'' M*
9l 1/38.

M*

96.-21---- 7--èsz

Moderato(J = 1oo)

t,- : ^! i
"'ù1

,t;
^'
'J frl ^j
M.
^l-
123 127 --7---
,.J
fr:-J fr-
w.
M. M, M.
.À lJz
12s(J =84) rzY a' =
,^^\
'1 4, >

ir ^^
M. sautillé

C frnncc P u 6 [írntio rs 1 997

 33
No.17
Exercises in pp over the fingerboard, 'Ubungen impp am Griffbrett fùr die Exucices efi p? sxr la touche pour
for the development of softness of tone Aus 6 iMung ler'l'leírrtcit lzs Ío nes. déuelopper la douceur du sn.

Example with 30 variations. E e tis p ie I mit 3 0'I/ arí"an t en. Exemple aaec 30 aariantes.

Andante 1J = ol;

PP sempre sulla tastiera

Variations 'I/ari-anten. Variantes.

With the whole bow-lengrh W. W.
MitganzemEogen
Tout I'archet.

6 ò- ex
pp
W*-''- Wù- W,

11 1J 15
With the half-bow
Mit fraííemEogen.
Moitié de l'archet.
PP n. H.
H'- fl\-
pp pp
1.7 18
With half- and whole-bow leneth.
M it fraI6 em unl g anzz m E og ln.
Moitié de l'archet et tout l'ar.
pp w ppt,n. -- w'ruw. u,i.

an 21

,.
PP Y u.h. W. ruù1
23 l,t. 26
In the middle. ttt.
Mit ler futitte.
Du milieu.
pp 1/3 L
Iry 1/s B. pp 1/s B
m 1/3 B.

29 tit 3o l,rt.

pp 1/3 B.

C fronce Puú {Xatiors 1997

34
,": No. 18
Continuation of the exercises in fortseuung ler lJí,urgen im Stúte des exercices en
?p oYer the fin-eer-board. pp am QnJJbretu ?p sur Ia touche.
Study with 27 variations. Etule mit 27 'l/aianten. Etude aaec 27 ztarinntes

Moderato (J =80)
íl ai ar
pp sempre sulla tastiera

Bowing-styles.
;\ ai î> ar
Strichnrten.
CotLps d'archel
ppw w. ppw.w

prp w. u.h. Lh. pp W. u,h, Lh. prp W. pp w.

== li -7 a?''i =
=
=
w Ír. W. W, PP W. w. W fr.

l -ì Èa- ía-7zzrí) :-, ata

w' pp M' W. pp M.

IJL t\ at í;:t5ÉT726Élìà27.
24
í) :.. n
p? w' pt. W. fr pp

C harce P ub [ícatíons L 99 7
 35

No.I9
Exercise in sustained tones and 'Ue6ung ingefin[tenÍònen unl ím Excercice des nns flés et de la
in economising the bow-length, Zuriicfrfra[ten lu Eog erc. retenue d'archet.
i.e. holding it back as much as possible.
Die aorfurgefunlen Etulen AQs 3- 7 On traaailer n les etudes précedmtes
Practice the preceding exercises Nos 3- 7
and 12- 16 in the following unl L2- L6 sinl auffijenle Arten Nos 3- 7 et 12- L6 en linnt Iu mesures

zu it6en: de s msniér es suia ant es :

styles of bowing, namely:

a) in groups of 2 bars to one stroke o[ the bowy a) Zu 2 Taft1en untet eínzm Eogerctricrt imy a) Par 2 mesurn du mème mup d'archetmX
b) in groups of 4 bars to one stroke of the bow p b) Zu 4 Ta\len unter einem Eogenstrích imp b) Par 4mesures dumènrc coup d'archefatpt
c) in groups of 8 bars to one stroke of the bowpplo c) Zu 8'Taft1en unter einem Eigenstrícft imppp Par 8 mesura du mîme coup d'archttmppp

Andante
b)p

( See page 6 )
c)ppp
( J12Ì12 Jette 6 )
( Voir page 6 )
Moderato

PW

Allegro Moderato
?

Allegro

C finnce Qu6 [íratío rs 1 997

36

Part 2 Huft2 Cahier 2

Exercises for developing Ueíungen fiir lU Entutíck7[ung Exercices pour le
suppleness of wrist. ler Biegsantfr,ett unl Qucftnei- déaeloppement de la
fig freit lu r{anlg e[enfru. souplesse du poignet.

No.25
Exercises on two strings. 'Ueîunqenr auf zwei Saiten.
J----r
Exercices sur deux cordes.
Example with 575 Variations. ^,9,
tseispiel
t
mit 575 'l/aianten. Exemple naec 575 anriantes.

II,
III.

Variations. Aaianten, Variantes.

Whole bow-length.
MitganzemEogen.
TotLt I'archet.

.l
11 \d = tz)
Half bow-length.
htít ha[6emEogen.
Moitié de l'archet. H. H, H, H,

22 'tA _25 26_ __27 29

C liarcz Qu6 [icatio rs I 99 7

 With whole and half bow-leneths.
.\,[it ganzem unl fra[1em Eogei.
Tout l'archet et moitié de I'archet. w. u.n W. t.h. W. u.n. W, t.h. t.h w. u.n. W.

JI

t.h. w. u.h. w. Lh. w u.h. w. Lh. W. u.n. W. W. u.h. w. Lh. W. u.h. W, t.h

3s (J =72) 40 41 1/38.
ln the middle. = =42= - 43

1{it ler Mitte.

)u milieu.
M. ts a.

50

() =66,1 =92)

W. W. W. W.

t\ 59 r:

aì>il\ 64;l .) t\ f2657;7'; a^t f-Î66;-r ;-l ;\ il 67 .-) aì

W. W.

í\ i\6e ,;1 6:\ 70:^> í-- lt /'=\ n^ 72:-> > e lJ /,-:\ /-À

í->75,';--', /"i\ 76 :-> í-> 77.-:; ,{),t\--2-, >+\

(l =66,1 =92)
l-lifforant
vurer!,,! lpcati
r!óq(,.
t9 a-tt -80:t -: t\_ f^C - 182:\ =
-.'
lene Einlung en.
er s úie
Différentes liaisons.
W, u.n. W. t.h. w. u.n. W. t.h. W. u.h. w. t.h. W, u.n. W, t.h.

aì,85_ ;\ 87 ztr - /-\ -

Lh. w. u.h. W. u.h. W. t.h. w. u.h. W. t.h. w. u.h. W. W. W.

89 z;-: ; ,/î\ 90:.^) _91_ z:r - /;\ e2= /->

W.W,

L nanîe'vu D Ltt 4tt0 ns I v v /

38

í->-94= /z\ r ,r?\qs - a> = .i\ _eh;r

W. W. W. W u.h. W. l.h. W. u.h. u.h.W, t.h. W. u.h. u.h.W. Lh W, u.n.

Picchettato.
Staccato.
W, W, w. W. W, W, W.

í\ 103 /^. lO4 r- í-\

l.
105 í-\
t,
a-. 106r. r:107:-r 108_ /-\109_
.-.-
W. W. W W. W. W,

116/,-l-.1 l7:--l:-

W. W. W. W. W.W. W W.

_--_.-\
l?5>\
'-J- \ >
-
ItA z--\
rLv a
-
l27j-->

W. W. H. H.

130---721131 -----

Variations in quavers. '/ er rin lerung en ín Ac ht e [n. Variantes en croches.

With one third of bow-length.

Mit einemDnfte[ les Eogerc.
Aaec un tiers de I'archet.

139 ^ ^140-

M* M* M* M* M*

t46 t47 148 149 150

M*

(J =66,J =88, ) =tn)

i51 /z:\ /7;\152::-> 153 ,.--- t5a----- 155 456:-àrt5l .-;458-íì>.
Legato.
W, W.

160 í-;-:161 ,1-;--162 --,_- 163 164:--T.-:165 166 :---->

r67 ----- t69 :-- |72...--' =]-'

1
,.t70.
---.\

Lruttw'yu0 ucaflofls J-yy /

 39

174 _-'-=----.- 175 176

--.-..-177

()=l32)rtsa.
Different legati.
r7s T, t82

'I)ers ltiz lene Eínlung en.

Dffirentes liaisons.
M*

183 "t: 184 188

y11x 1/ 3 B. M* M* M*

to, t94
190 .:l /:.î 193
G

M* M* fr. W. pt. W. fr. W. pt. W

(J=t2o)
Iq5 "";'
p
1/a 1991/3 B. 200
l
--
^\ -

M* M* lvl* M*

)n1
'"'a-, 204 205

M* M* M*

210
zaì
M* M* M* M* Mx

t/3 214 _ 215

)14 111 t/3 L
z-:\ -" /-:\
B.

p1* 1/3 B. M* MX M* M* 1/3 B

220 114 223 224

-- ' - ' --- - .

M* M* M*

1J = roo) , ,.
marterc.
aî<
.LJ::::::::::::aat
226 22'7 229 229
Picchettato.
Staccato.
yx
" Wrist.
l{anlse[enk.
r I'nl qnet.
(J=108) ---Ò
l/3 B. tta R
arn LJI"" "Fl
^.,1/2 n232n 233
jliì j\i: n234 ^ -12351 íì
/rv j:.:l j:^:l :l :^ ) í\:L :aa--:aaì. :)

M* M* M* M* M* M*

C liarce ?ub fícati o rs L 99 7

40

,,237y n í-ì..
?1Q rr
t-. )

M,K M* Mx M*

..'-\. /+s4ì <_.2462,;_ )) ^'7 ---. _+--),-l

',
G 'G:-<.ì
243 244
a À.\
). ^
-a--.^\.^\r -- ^ I
-- - l
-. ^
-

M* M*

(J = 108)
,ìo
z+ó --=--l--/-:\
/-;\
2+v ;--G-* 250 .-/--\-
l---\<
z s r

r<Tì>x ;€ì>.2 =<G\

z s3

t/4 t/4

Variations in Triplets. '/ er rinl erung en in'fio [en. Vsriantes en triolets.

() =126,) =tq+) )61 1A

evr>>
260
V/ith little bow-hair
Mit weníg Eo6en,
Aoec peu d'archet.
M* M*

)65 266

M,K M*

270 273 >

M* M{< M*

?RI 282 ?R?

-vr>

M*

,an

M*

CfrnnccPubtîutiarc 1997
 4l
1J =n,) =92,) =no)
29+;-;;-- 2e5 .1-->2vó;----=\ 297 .1j=2
Legato.

305 ,rr'1>.30q--ff-; tot a{}-a na 309-----'-..'..-.=--

- ) r>r\
->)

()=V4)
'-|.]
Different legati.
310 7) >jl 313 .) >
=
'I)ers úielene Eínlung en,
Dffirentes liaisons. M* use little bow-hair. M* Mx M*
wenig Eogen. peu d'archet.
(J = 126)
jlR>-
'-t---r-,r--\-->^ >\ ->^

M* M* M* M*

3lg >-- _>\_ 320

^ =_
M* M*
\)4
à ^ I n = n325 n
^ - -<-'=
l,---,-,--,)
-

/-\ /-\ /-\

,,-.> ?.--.è ,.--.:>
_ > ,'---

M* Mr,

7.14
-_.>
t-)\---\r-\/-\t-
_ :-->^ />\ à\ .z 7Cl7-+ZT+a
M* M* tr. W. pt.

lt4 >^ >- 338--\

=>:l

W. lr.

1) = ne1
j-.340,, 341 () =92)
,--
Picchettato.
'r-._r-._a-._r-. ^.^\ ^ 4\. ----+ r )-- 1 . I
---
| .
-
\ .
-
- ì -
-
î\ - il
Staccato.
M* M* M,* M*

X6 (J:16)
343 G rà G 1À,744n
a ),- - l - . I a
345

M*

Chana Qub firntions 1997

42

Variations in semi-quavers. '/ er rinIerung en ín S e crtz ertnt e [n. Variantes en doubles uoches.
1) = no)
With the wrist.
349 > 350

Mit lent{anlgetenft
Du poignet
M*

351 = :'- >

>

Mx M* M*

356(J = 16s,J = rzo)

M* M* M*

360_ 362>
>

M* M*

366=

M*

310 -

M', M* M*

Jtz

(l =120,J =144)
374 -V 377
Y' n
Dotted quavers.
?un(qírtc Acftte[.
Croches pointées.
M. fr. W.

ìR?
383
l.

pt. M.

385 y 6r, 387 v

M.
pt.
w. pt.

= 392 4-r í\ ,zì í.-\

W. M*

Chanrc Qu6 fírntiors 1 997

 43
(J =j6,) =92,J = roa, ) = no)
398 .-a---\- 399 :---î==-=' 400--<----_-= 40 I

Legato.

408 ------ 412 _-<--='-.]-:---->_

--'=---.-..'-414 4i5 =--.=---\416

1) = nz1
Different legati.
426 /::-' a) 5-1427;-1 7;4287.; a>,429:\ ;1430 2
il ers úielene R ín lurg en.
Différentes liaisons,
M+ M* M* M* M* M*

132 a> _ _433;1 437:\ 438

11a391 _ ^440
=

M* M* M* M* M* M* M*
1,11 >
i-142= ; /^113=_ _ í\444
A^< y'46- 447 > _448 449>
=a)
Mtr M* M* M* M* M* M* Mx

450 !52= /-\453=- .--454> ,6456 ,;1 457 r._-:.

=459,<->
M* M* M* M
-55>- M* M* M*
460 461
459--r a) r
a I
r
t )-
Aî
--
r l r:;t _ ;la ;\G
M* fr. w. pt. W.

n n461 ^-- 464 _;-1 465>_ r-->__ n /:\

L tuflÍe't:uD Lta nons I 9v /

44

1J = roa;
466 r> î\ n 'r) íl 469 rl- r-.470n, : :471v .-!" T.
Staccato.
Picchettato
M* M* M* Mx

;la ;l .^.4475-. íîì . i:-. = i1-. =

f) = t26,) = 144,J = ló8)

-E
2
M.
tr. fr.

M.
fr. tr.
494

501
.-
e
E
M.
fr. tr.

r rJ'a
-\

M. M..
fr. v tr.
<r1
7<\Jr4_ ./-t ./-t
<14
Jt-- <rK-
| -)- i _ | -- , I I / t- r ,ttìt\
-\
ll! r I I - -513 ^Jrv ^

M.
fr.

(rl=108,J=120)
ttt

M. M.
fr'
<aî t523 y

M, M.
fr. fr.

> _ _526- s21\

l

M, M.
tr. fr.

--
r v 530^
l l.
531--. z^r
 5ì5 { 7,4 À
533 ^514^
t| --' I I I ,^ t\ a\
^ lt at I I

M.
fr.

1) =v+y
53'7 ttrvtrrv t r r r I r vr 538
539
>l I t t Y t I lltt
SautiLLé.
Saltellan.

Y f t I I"
\4)- 547
- -| Y

M.

546
t-t)l

M.

54q

M. M. M.

55? 551 555

r I I tt rr tl

M.

_-1Jt =so 557

-''t
))b | |
YYTYIY

I
lvf

thrown
,-.-562I /-\
Thrown staccato.
Itt I
f |
íì,-\563,-\
--- | | | I r I tll
564
I
At
Yt
I

Qeworfenes Staccato.
Staccato jeté.

(J = 108)
V VY ,56b,,-. íîì tYl
(|is67 6i í-\ --, í\56
IY

,h
.- _/ Prcncretnr
( d' = lJòl r rrp4rdrur) €XefClS€. 570
Hopping staccato.
tìhv
>v t t r v v v f:iì f:n >v r r r r t
7l n 4;1571;i n rì íì .ì íì n ít I l -- Y

Spingenlu Staccato.
Staccato sautillant.
M. '/orù6ung. Préparation. M. M.

>r r I I ì r I rt
573
rvf
-- a
I fa tf a)
ì
574 575
512 a f | -- | f -
fì
IV fa | -- | f -- f I f f t I Y I I
tYtvtt
tt tl
tt IY rì
la
tt rttt

M.

Cfranu Pu6 [ícatioru 1997

46

No. 26
Exercises for skipping over
one or two strings.
'U e 6 ung en
fÌir I as jU e

oder zueler Jatten.

6 e1sp ing en eíner Exercices pour gasser
une ou dbux cbrdes.
Example with 190 variations. Eek p íe[ mít 190'laianten. Exemple aaec 1,90 asrisntes.

Variations. '/aianten. Variantes.

(J =60)
Whole bow-length.
, 2

MitgataemEogen.
Tout l'archet.

^w.
+'

Half bow-length.
Mít fra[íemEogen.
Moitié de I'archet.
H,

-23.

39
(J =601
Whole and half bow-lengths.
Mit g anzem unl rtn [6 em E og en.
Tout I'archet et moitié de I'archet,
t.h.
t.h. W,

36 37 38

(J =oo)
?o 1/3 B. t/3 B.
41 '
Bow middle.
Mit ler gv{itte.
Dttmilieu.
 47

(J =66)

---\ 66 ,-l-.67 .-- 68

One third of bow-length.

-Vit eínem Ditte[ lu Eogens,
Aaec un tiers de I'archet.

W,

97

M* Wrist.
9{anlge[enftPoignet.

100

M'r' Mx

i05 q-80,t =e6)

Use little bow-hair.
Mitweníg Eogen,
A.uec petr d'archet.

109= >

L nînte'Íu D url no ns -L vv /
48

With the wrist.

Mít leng{anlge[enft
Dtt poignet.

119

M* M*

I5Z

1J =say

,.-tJ
.v, | |
- root

\J=v=:.-z!
fr. w. M*
=
(J - r08)
139 la0G
w

141 u

144
W.

1)=no,J=138,)=fl6)
ri_
Spiccato
145 v
Scbfut
balzato.
M.e fr. h-
tr. I M.
,',
M.

149 r53 t54

C franrz Pub [írntío rs 1,99 7

 4q

tt'M. f,'M. t'' M.

161

,^., 1J = 108.1

M.

70

'M. 'M.

t'78

Sautillé.
SaltelLato.

qJ =ssy
189

M.

Cfranu Qu6 [icatíots 1997

50

Exercises for developing 'Ue6 ung en fiir lte Entatíc fo. tung Exercices pour Ie déuel-
the power of the wrist. ler lQaft lu t{anlget nku. owement de force du poignet.

No.32
Arpeggios on three strings. Arpeggign auf lrgí Saíten, Arpèges sur trois cordes.
Example with 733 Variations. Eekpiel mit 733 'l/aianten. Exemple aaec 733 aariantes.

II
m
ry

I
II
III

Variations. Variantes.

Moderato(J =80)
whole bow-le ngrn :r.--- !+-o--l-----
MitgaruemBogen.
Tottt I'archet.

'ttt
. to

C frnrce 9uú ficntio rs L 997

 51

1J =aoy
Half bow.
24 H.

Mit fut[íemEogen.
Moitié de l'archet.
Í

1J = so;
46
Half and whole bow-lengths.
7[ít fra[6 em unl g araem E og en.
Moitié de l'archet et totrt I'archet, rh €
f t.n. W.

48

e>
W.
u'h' *w. C}
t.h.
w.

53

Ct é !-é | +l
t.h. w.
tn. W. u.n. W. Lh. - W. u.n.- Yv.
,- t^t I

Lh.

(J = 80)

Middle of the bow. **)

Mit ler Mitte lu Eogetu. **)
Du milieu de I'archet. **)

64 .6i

M,

80)

Legato

86
r

a
" vY,
Eogerc. ) D'abord attec Ia motié inferieure, et puis aaec la supériere
xx) 2nd and 3rd quarters of the bow * *) 2tu unl 3tx'I/ierte[ lu Eogerc. xx) 2me et jme qart de I'archtt.

LMîtCf 'yu0 uÍ.oflons lyy I

52

u.h. t.h.
w.

e4 e6 ,/-ì\
-:- --
W.

100 _^_ 102------.--,103 í---ì-- I 04 105 -=_- 106 _---.-_ 107_-_

1J =so;
108 --.,109 --1 --..1 l3 -r . a-.
Staccato.
Picchettato.

tJ =96t
122,--- 7l\rz:----- )n 125>/<--_,126 z-....-1 127 1 128- .

W.

130 ,r---\ i );,.,----. i ij-z-:r, i ió--.------

w.>
I 39 ;--;--:,1 40 1-i-.14 1 142 .---. 143-----..- ]44 z--- 145í---\

Variations in quavers. '/ er rinlerurg en ín Ac frt e [n. Variantes en croches.

146(a=100,J=120) 149 n
One third of bow-length.
Mit einemDitu[ lu
Eogerc.
Aoec un tiers d I'archet.
t/3 B. 1/3 B
^f M. 1/3
pt.
B. simile

150 n 151 t52 154 n

t/3
fr.!!
B.
a' 1/3 B.
{s.tts

Cfianrz Pu6 [iratiors L997

 (l =96,J =ll2)
Legato

169_-_, 170all\ 173,2..-.., 174--- 175 l--\

176 /-,'--\\177 ,=___,192

193_---<-.-_ 194 lg7 ,.-7_ lgg 199 _-----.\

-t----/

205

----/- -'--/-

108 '--G-==- 209 zro ---T\ -------\_ 212--î-:-

>_-/
=-/
215(\- zrc 1<:Èz 7;1-T-\_, r 2 1 8 a-ll>

221:---Ì-'-- 222--- lzi --<-Î-:--

220 ---:G-.=-

zz6 --1.T..-:-221-

martellato
n (J = 108) ,
J = ìoliwrirt. ) = no)
230 V ,r, t .,.,2( 255
Bowing styles.
Stríúarten,
Coups d'archet
f W* rts a'
^f v* f ffi tsa *Í M*
Poignet.
(J = ra4) y9
236(J = 138) Q31-238) 24s_Q3t -238)

fr.
M. ?
r tr.
M.
îr.
M,

Cfianrz Qub ficntiots 7997

54

241

1AA spiccato 25t \242 - 250 ) 252 (242-250)

fr.
M.

sprccato
I
( )\4 - )61 254 - 261 ) 264 (2s4 - 261

265 V

? martelé
M* M*

(266 - 2'74 )
2'71 272 (266 - 2't4 )
216

M* ffial spiccato

!1J = roa; 1) = no1

Double-stoppings. 28 I r-r-r
InDoppeQnffen.
En doubles cordes.
mf=
úM*

1J = t:s;
282

r
=f, ^
sptccatot
(2'78 - 284 ) (278 - 284 ) (278-284)

t/3 B. t/3 B.
288

r r (299_296) (289 - 2e6 ) (289 -296)

C hanre Pu6 [iratíoru 1 99 7

 55

Variations in triplets. 't) er rinl erung en in'Trío [en. Variantes en triolets.

() =:r:o,) =144,) = r76)
300 301 303
\\ rtn little Dow-nalr.
\{it uenig Eogen.
-
t-,1ec peu d'archet. ----74
M*
^Í

339 340 344 zR..

Legato.
-\

---- =---- ----__z-

----\3s+,---}:ss

---=--\-
361 ------- ,362 -=--_,363 5--_ 364

\--l
-=----
C franu 9u 6 ticatio rs 7997
56

1J = rro;
Bowing-styles.
Stricfrarten.
Coups d'archet.
Mt, \4,r

?ol
J" >
l9+{J=169, 395 397

M* 1iy spiccaro
Mp M,

398 V
401 402

(386-399) (386-399) (386-399)

408

4t6

(404-417) (404 - 411 ) (404 - 417 )

426

M.

Chanu?uí[bntíoru L997
 (J = 138)

M,

445

(s33 - 548) (533 - 548) (s33 - 548)

(J = to0)

W.

<'l
A
453 ---"..'-=- >\_

(s58 - s6s) (558 - 56s) (ss8 - 565)

(J = ll2)
Double-stopping.
InDoppeQnffen.
En doubles cordes.

fr. M. (464 - 47r ) (464 - 47t ) (464 - 47r )

Variations in semiquavers. 'l)er iinl erung en ín S e cfrz e frnt e {n. Variantes en doubles croches.

With the wrist.

4j5(J=96,J=tte; ^11 478

l,{it lent{anlge{enft
Dtt poignet.

^f M*

Cfuntc?uí[tntiots L997
 (J=101L___
5r+
Legato.

523;-, )^ =--ì--524=

(J =92)
534

C hanrc Puú [iratiors 1 997

CfraneQuí[íutiots 1997
60

?( ). = oa1 1J.=oo;
580 F
Bowing-styles.
Strírfrnrten.
Coups d'archet.
r frpf, spiccato

(s78-s83) (s78-s83) (s78-s83)

1J.=SZ,J.=69) 1J.=oo;
592

frîÍi
M. sprccato

>
593

fr. (s88-se4) (588-se4) (s88-se4)

M.

(J. = 52, J. = 69)

1J.=oo;
598

M* M*

1J.=oo;
604

h. spiccato ,íi1
M. (see-60s) (see-605) (see-60s)

().=52,).=69) ).=

ft.\ sprccaîo
M.

616 -618 > 61,9

fr.
M, (610-616) (610-616) (610-616)

(J. = 52, ). = 66) (J.=66)

M*

(J.=60)

(621 - 627 ) (621 - 627 ) (621 - 627 )

( hance ?ublicatiow 1997

 (232- 23s) ()7)- )75\ (232- 23s) (232- 23s)

(243-246\ ( 243 - 246) (243 - 246 ) (?4\-)46\

641

(2s4 - 258 ) (2s4 - 258 ) (2s4 - 2s8 ) (254-258)

(267 -27t) (267 -271) (267 -271)

ì I *) Use less bow-hair than in styles 232 - 235 63 | *) Aaec moins d' ar chet, Ei il n' est ind.iELe aux cotrps d' archet 232 - 235.
63t *) Mit weniger Bogen, als bei Stricharten 232 - 235 angegeben ist

Variations with hopping bow. 'laiantenmit spingenlemEogen.Variantes en coups d'archet rebondissants.

()=152)

Chanu Pu6 [ícatiors L997

62

>
670

M.

6'73

r.D=66t , j
67s sH

OII
1.D = eo; 3

M.

oól I

L ruLnre',v u D ltct t1 ofls I v v /

 (J = n2)
Flying Staccato.
!-\oeo .--:69'7 'f)ers 4-\
ffrengenlu Staccato.
Staccato aolant. W. +J
W.

()=126)
700

,-Î\zoo

jerked 719
Jerked or thrown staccato.
Qeworfenes Staccato.
Staccato jeté.
ú ^u. wlrfen
letez
M.1

S\.71 717 j

í) t)
M M.

7p () =76)

M-{i.! pt. M. pt.

'/21 1) = t++1
Hopping staccato.
Spingenlu Staccato.
Staccato sautillant. tj
M.=J

leC)
\_r t/ ta
\_f ,,/ ta >)
j) ,) ta
\f
M.
^'/

I f ^ Y 7lO
I ''"

jeeeeeeee ) v )) v >)v Ú)
lr. , ^ ^ ^ t | ^J L-/
^J
M. M.

1J =ozy
733

Cfiancc eu6 fímtiors 1 997

64
No.33
Arpeggio on four strings. Arpeggizn auf aizr Saiten. Arpèges sur quatres cordes.
Example with 5l I variations. Eeisp ie[ mit 51 1'larianten. Exemples aaec 511 a ariantes

variations in quavers. Variantes en croches.

J = ro+.r
1- _a
One-third of bow length ..-
Mít einem Ditte[ lu Eogerc,
Aaec un tiers de I'archet.
nf

qJ =so. ) =96.) =tn.)

zo _--\21 ;íl-2z .--23 .--25 ---\-
Legato.
--
nf w.
í-ì- 28 ;----30 i-..---.....-1 :z í-----\

i-]t.t:6 --.---- .-1a-=:-39 ---=:

_----\_ ---> 45 .'-->

*) Practice the variations marked M* *) A[b mit M* hezíecrtnetun Striúíiîutqen in *) On traaaillera les coups d'archet
at the middle, tip, and frog. ín ler Mitte, an ler Spiue unl am frlscfr u6en. marqués de M* du milieu,
de la pointe et du talon.
Charce Qub tícatiots 1997
 ( Jv= 116 )

Bowing-styles.
Strícrtnrten.
Coups d'archet.
M* 1/g B.

M*
1J=120)^
62>

fi. sPiccato
M* ri.

M.
M.
(4e-6e)
fr.
fr.
y1J=tto;
7l n. 73 1

M*
) = 126) () =82
;\

)l
fr.- ') (72-87 )

\r) =r,rot 90n

M. M.
1/3 B
tl_e2
M.

93> t\_ e4
=r-
M*
(J =82
ssÀ* 100

tr: t,=
M. M,
1J=noy
107 n 09 ll0 113 s._ -^ a+a

M*
LruWe',ruour.ínons tJv/
oo

M* Mx
132 r IJJ (1

fr. fr.' fr. fr.

M. M. M. M.
o balzato
I 38 i 39 tl
I
)y I 40 t42

()=fz6) tsa.
Double-stopping
143 Fr-f Àlq
InDoppeSnffen.
En dotLbles cordes. I 1
JM*

148 ì

SPrcca.îo
Sr^ ^
1'J = tsz;
"---\ 159 r-r -L

1 sptccato
M* tr.

tó1
(r55-163) t65 ( 155 - 163 )

Variations in Triplets. '/ er rinl erur1ú en in'Tio [en. Variantes en triolets.

too''*= t1u'
use iittle bow-hair. ll9-t'f
Mít wenig Eogen.
Aaec peu d' archet. --
_f#*
1)=nZ,)=82,J=teo)

Lnonfe 'ÍuDLttanofis ,Lvv /

 67
(J !8,J=ros,)=fiz)
ía\182;í-;1 183 186-
Legato.

194-----..-=:- 195

zoq-fr-\zoz 210i1---=--\
---j- /

zr+;-ffi;..215

't'ta, /----T---224 226:---T.-....-

1)=no,J=160) ( J = 138. J = rOOL=----=-

. 227 ll-^
5Ow tn g-sty les. z\;
Stiúarten.
Loups ct '.+
arcnet.
^*a
NlT M* ilÍ; t7 s B.

(J=l12.J=138,J=88) (J = 138,J =88)

n3 ./tí;\,

M*=
()=82
234
(J=v4) _
d =82
237

Itv
tvt. I SplCCAto
M. fr.
(J=n2,J=138,J=88) 1J = ns,J =ss
i:- J..r-
=:
= = ;\ 240

Àrx >
1/é D.

Cfrorcc2uí[i&tions 1997
68

(l =ll2,J =132)

M*
() 112,J= nZ)
252= zz _7= t/3j'- /3\
= l7= - - 2s6
_ 253 254 a-)
=
M* M-*

258 259

sprccato
M.
(J =ll2,J =82 fr.
264t rz
-t

M* M* M
(J=D0
269 270 1.

M*> l/s B. ,t SDTCA|O M.

1J=too,J=Ú4,)=84) tr.

n 276 ;\

Mx vM*
(rl=108,J=120)
L- 299 302

pl sprccato

(273 - 307 )

C hnna Puú ficatío ns L 9 97

 69
(J = loo,J = I t6) ViJ=120.1 (J
31j )--
Double-stopping, r'\ -
313
= ^3 151
InDoppejnffen.
En doubles cordes.

M* f \,.'P"'o'o
(J = too, J =rzo,) =É2) ( r/ = 100, rJ - 1)Ar (l =96,1 =144)
?tn t>
321

-M* 1/3
M* M* M* B.

(J=100,)=120) (317 -322) (3r7 -322)

322 LLj 323 v rl 324 325

fi.spiccan fr. ]1,

(J = 100, J =120) (328 - 332)

328 329
>

M* fr.

(33s-340)
338 339 340 i\341 > >

Variations in semi-quavers. '/ er rin lerung en ín S úz e frnt

e e [n. Variantes en doubles croches,
z:,2
J = 120)
From the wrist. 344
Mit leml{anlge[enft
^(
Dtt poignet.
mf=
úM*

(J=100,1=144)
Dotted-quavers.
?unft1:irte turttet.
Croches pointées.

() = 120,à =96)

CfrarcePu6[í&tions 1997
 -'->

---->- 3 iJ=80.J=100.)=120t
376i------- 377 ;--ì-.-

379 --í---\3fq 382;f-]=-- 3g3 :s+;{-}

d =s2)

1J = ro+;
389 3eo-3et-3e2

3e4-:ls lso

(r/=88,11=l

L rumÍe'l:uo nca nons I vv /

 C C
--
-----l

+ ++

-E

n \. =56,).=69)
4)7
Lrowlng-styles. -zI:-
Sffbrtartun.
Coups d'archetj
M*
426
( 424 - 428
;\ , 429

P fu.ìpiccato
(J.=56,J.=66)
v

( 43t - 436)

M.

440

M*;
442 () =fiO (431 - 436)

M.^ sptcatto M,^

446N 447 î+z

M* 1/3 B.

a51(
J = 100) (441 - 4s2)
I

M.,
(J = 104) (72-80)
À<A *\

x) Use less bow-hair than *) Mit weniger Eogen,ak 6eí Stricfinrten *) Aaec moins d'archet, qíil n'est
for bowing-styles 49 - 63 49 - 63 angegeben íst. indique aux coups d'arclrct 49 - 63
C francz Q u 6 [icttiotrs 1 99 7
 (90-e8)
(108-131)

1.D = tsz;
462 ì
Sautillé.

*Í ^M.
M.

466
 (.D = 96)
=

Hopping staccato.
Spríngen[es Staccato.
Staccato sautillant.

= 168)
u() 5or-D = r68.) )52!
500 :. LLL) tl ,5021)=108)

M.
M.

(.D=108,J=92) (.D = 108)

U
504r r I 1

;l s07

5lov
,, (J =152) ()=É2,.D=t:S)
''"t t Y t I

CfurceQuî[íutiors 1997 \eprolucel arl pintel 6y

!{aftan ú Co. Ltl., Arursfram,,tsucfu., Eng[and