A SUGGESTED METHOD FOR T‘EAC‘HLNG ADULT BEGINNERS HOW TO PLAY THE VIOLIN Thesis for the Degree of M. A. MICHIGAN STATE COLLEGE 1u15us Sigulberg I938 .. .~.:~1 .'¢}43;.« 15.... .0 o I . ‘ Lt: Av) £1¢Afiav , ‘.,~ ~-q,~'n.a--\ - —.-qp—-yf,‘~~. v-aFv-s MQ-i-fl HYV'S'"IV J} ‘J’. v-a-‘- -o/ J-~-" l-‘h- -—JJI.~'J--—- I“.'.'T f“ “V‘NVVV‘T?‘W"" ”Vr‘fl" "V‘A "7 fi" 'Y‘TYH V‘r-v'n‘f ‘F" -~A/. l- . .1, _.. .a_-L4 --\, I- 4‘ -.—-4'--._ -....a -'—- ._4_. p "Q a i1 -‘ fl ‘L in . A Q . -‘ . .— \"n‘ ‘ J1 ‘. "v- ‘~r ‘.‘.J“. I“ "’fi“ p‘11'~“\v- 1‘ r ‘ L" u- __ ._ ‘- -k _ .- - ._- 7 - -' '- Q 5 ~ ’5 ‘ ‘9- a-ag'ww“ "-..".“‘J"‘ ”a”; *1‘0 ( r “awn," r)‘ u: _‘ - .. L’... . -‘ _ . ._ A .. . J‘ "“ ,' 'r‘ “.)J‘ (I Q - .. o‘- 9‘. a o 1‘ _ ."4 w -. , —. ' w “ r 4 ;‘ 4 . { ' n ., w - J J _ ~ ~« 4.4 ‘ L .9 "i 5 . ‘ .fi ‘_ ‘- 1 ‘ ‘ - ~ . f _ ..l m _ q ‘ J .1 3’3 0*: A H’fivnw'? ww~x~-~- --‘-v-- u 4}JA.‘. "u -‘._A.J.,...'. .-41. Lah) f“ ~ a w -~ ~ 2 ‘ 'L 7L " ' 'fl " ‘ W I' \‘ ‘ n J" h . ‘1.’ u" . 2‘ _. ° ‘ J. n _ ~ ‘ .. \- . ,- — _.. , _ H ; “‘1 T I1 ‘J 1 "\V ‘1. o H. -4. ‘* u... . - "“ a a q a ‘ n . n ' - ‘ 1‘ ‘1 r 7 rrr '17 r' «7 J" " F“ ""“u “w ‘-. ‘1' r H -‘ n 4-(~ w ,I - - .._. .0... J _. \ .A— ‘ 4A) .— ~- ‘ '1 L .‘Jr l V’ _ “ , H ‘ i . ‘ ‘r,’ ‘ n *a T ‘ H -. ’ " n J-‘ " - ‘\ J- J- ._ —- — 7 ~ I . — .v — .—\l . - . ~ - — fl . . I -- .. ._ _. d- o .4 4.- “" 7- .- . ‘ ' . _. - .J '00 I 1‘ fl Q S ‘ ’u '— I Y? 0 ‘A11 ‘ ‘4" ‘Lp ’ 1m”: NW N" - 0 WW“ 'IgTX .r ‘*“”(‘F - I“ J __ . , . — ¢ .. ' - g; - l ..I 1“ if“) .520 PREFACE In general practice, public school music students are required to study some stringed instrument, as partial preparation for work with instrumental classes, string ensembles, and orchestras. In the violin classes there is a need for teaching material that will cape with the specific problems encountered in adequately preparing these pupils. The following problems are involved: All the students are adults and should have material that is suited to the adult mind from the standpoint of interest difficulty, and rate of ad- vancement. The so-called 'beginners'l under the above course are, for the most part, well trained performers on same other instrument. Tb these, learning to play the violin involves primarily the acquisition of the technical manipulations necessary to play the particular instrument, rather than any repetition of primary training in general musicianship.. Finally, most of the students do not study the violin to become performers upon the instrument, but rather to acquire a general knowledge of the tech- nic of the violin to aid them in their future work. these students must have material which will combine thoroughness and speed of advancement.as the double objective, and be challenging to adult beginners. The following is an effort to adapt the instruction to these conditions. The ma- terial is definitely organized for the adult student. It presents the technical prob- lems of the violin as they have arisen in actual classes, and attempts to clarify them. It endeavors to treat one problem at a time. A great deal of attention is devoted to the bowing arm at the very beginning, in accordance with the belief that a “free“ bowing arm is the first essential in violin playing. - Fingering is also introduced in a manner different from.the usual one. Rather than employing the four fingers on a single string, using whole-tones and half-tones, the method of playing on all four strings, directly across the fingerboard, using and drilling one finger at a time is preferred. The fingers will progress by half-tones. In this way, it is believed the student will more clearly see the relationship between the fingers and tones on the different strings, and thus aid.hhm to play more accurate- ly in tune. intonation--the greatest problem to the violinist--is further stressed by frequent playing of double-stops. The value of double-stapping to the beginner is usually not sufficiently recognized. It necessitates a correct violin position, fos- ters greater accuracy of fingering, strengthens the fingers, demands careful listening :0 what is being played, and eliminates the fear of playing more than one tone at a ime. This material deals only with the problems in the first position. 111 A 2 3 4 5 A 6 7 9 ea— 10 44—4 ll '\ l -””|f 12 13 l4 Egternal Parts 1. The scroll, or head 8. The ribs, or sides 2. The page 9. The P holes, or sound holes 3. The Peg-box 10. The bridge 4. The saddle, or nut 11. The belly 5. The neck 12. The tailpiece 6. The fingerboard 13. The purfling 7. The tOp l4. The'endpin Internal Parts 1. The bass-bar (Built lengthwise to the belly, on the left side of the violin.) 2. The sound-post. (Supporting the belly. Under the right edge of‘the bridge.) I a. 4 45' 5 l. The tip, or point 4. The thumb grip 3- 2. The stick 5. The frog, heel, or nut 3. The hair 6. The screw iv Fig. 1. Front View Fig. 2. Front View Stance Left hand and arm in correct position Fig. 3. Front View Fig. 4. Rear View Correct position or the violin . Shoulders low, even, and relaxed Fig. 5. Side View Fig. 6. Inside View Correct position of the left hand Correct position or the right hand Fig. 7. Inside View Fig. 8. Front View Right arm in correct position while playing at the point or the bow Bow held in correct position Front View 11. Fig. Front View 9. Fig. Correct position in general. Right arm in correct position While VIOIIII and DOW playing at the middle of the bow Front View 10. Fig. Right arm in correct position while playing at the heel of the how .1 Explanation of Signs and Abbreviations Used in This lethod s s «s W. B. Ihole Bow H. B Half Bow u, H, Upper Half L_ H_ Lower Half M. fiddle P1: Point H Heel ['1 Down Bow V Up Bow 1 First String - _3_ j: second String - _A_ 121' Third String - 9 1K Fourth String - g 0 Open String I Place the first finger on the string. 1, Place the second finger on the string. 3 Place the third finger on the string. . 4 Place the fourth finger on the string. l___ _ _| Hold down the finger. Crescendo -- Gradually increased volume. Diminusndo -- Gradually decreased volume. >\//\ Half tones viii ""f' -.n— O i I Y? I } ‘V'FT -4. 'T'Ql' -15. AL. C0- v 4L... 0 v V f 4'... wr—- ah— .— ‘.""T 45.. v (a. ._ .2. A rm f‘ 1. 4‘ ,— l A ’\ --_— q J-*I'1"r~1‘."u "J. a f.‘ .e. h ‘."‘ ' ‘ g”: ’- - La -.‘ r-v _‘_ _j s - . k - - w h .- _ , , J. o .. - v..— : "1 I'v l‘ ‘ ‘ r1 -. a-.- 1 n ' .,> f‘ H ‘ | q. .. J' P“. ' q 51‘ ”Q s .4 - -.‘ — .. - ‘ H _ ”mm, ‘ - J I H ‘ | ~\ V‘, L . , _ 'W _e r ' “- 3" , -‘ '1 ‘ rs ' ‘.‘ '1 O a - A. < .« v ~-'~ - I . I r o ‘ "'i "' - .— . -v-l - .-¢~ c“ ‘1 1' .‘ . _. _._._.—-_.—_—-———_————— .4- ‘ ’ .._- J_.', , J", -1 7:1 .— - _ . - -e . ‘3 .1. .e- , . _.._._-_.._.._..... - - - _ ~ I -_——__~-‘—-..————_—-L.-- 'i s r... L1..- T ....i ,, . _. ‘ s.“ ‘ . —- l' —- m I .31 s .- \fi , a. ,. H s ‘_ s s 4" {N _' -'1 .J‘ ,-_ ,w . J a . fl .1 ’ . " e- " ., . ,_ . ' ‘ I.) -A_ 7 _ - —- -- .— —— _ n.- —- v- r- .- — r— - - -- _. -- .— —--- -- .. w_--—- u..— fl -.—-—‘— --._-.. ‘.--_ -—-~-~_ —- " s- —- .I'.‘ J; 1. vv .- -—_._.——— Fl Js ——-——__.—. 1n -oc—o —-‘s--—.. «a '1'— .. A... .i I I n‘ . i . . § . g . I I ‘ UJH' I n. ' ls. The Correct Position for Playing the Violin l Stance or Posture in Playing the Violin g. ‘I' * Face the music stand. stand in an upright and relaxed position. Place the weight of the body on the left foot, and advance the right foot forward to the right. The body must be in a natural, comfortable position, with the weight on the left foot. (Figure 1, page v) This will insure freedom for the right arm, allowing it to move without communicating its motion to the rest of the body. The Violin When the correct stance is attained, swing the left arm forward and up, bending the elbow, until the fingers are approximately level with the eyes. Turn the left wrist until the little, or fourth, finger is seen completely from the side. (Figure 2, page v) DO not force, or cramp the wrist. With the right hand, place the violin on the left collar-bone, with the jaw--n0t the chin-oplaced on the chin-rest, which is on the left side of the tailpiece. The violin must not be pushed against the neck, but should rest lightly on the collar-bone. Avoid raising the shoulders, a habit which tends to stiffen the entire body and hampers smooth bowing and fingering. (Figures 3 and 4, page v) The neck of the violin should rest lightly between the thumb and the forefinger of the left hand, above the first Joint of the thumb and beside the third Joint of the forefinger. It should be sufficiently firm to prevent the neck of the violin from de- scending into the hollow between thumb and forefinger. (Figure 5, pa e vi The little finger should be brought as near as possible to the fingerboard to al ow t is finger also to have a curved position. The following facts are especially important. The left elbow should be brought innard.directly under the violin. The violin should be held fairly high so that the arm will not rest against the chest. The wrist and palm of the hand should be held out so that they will not touch the neck and body of the violin. If necessary, pupils may place a small cushion on the shoulder, under the violin, to help hold the instrument and to eliminate the danger of raising the shoulder. Both shoulders must be relaxed. ' The Bow Hold out the right hand, palm upward and fingers extended. The fingers must be close tOgether but not pressed. Place the heel of the bow, hair up across the fingers, so that the stick touches the first finger at the second joint, and the little finger at.the tap. (Figure 6, page vi) Curve the right thumb and place its right side against the stick--between the, stick and the hair, touching the frog-~at a point between the second and third fingers. Curve all the fingers naturally. (Figure 7, page vi) Turn the wrist and.bow over so that the thumb is on the bottom. Place the bow hair on the 8 string, half way between the bridge and the finger- board. Slant the stick slightly—toward the fingerboard. (Do not play with the hair flat on the strings.;, This will cause a slight elevation of the wrist. The bow should at all times be arallel to the bridge of the violin. (Figure 8, page vi; Figures 9 and 10, page vii The elbow should be close to the body but not touching. In going across the strings--B, A, D, G--the right arm is raised for each string, and in the reversed mo- tion, lowired f5r'3ach string. Open Strings and the Bowing Arm * i ‘I' In the following exercises, the student will become acquainted with the rudiments of bowing. By giving exercises only on the Open strings, it is intended to concentrate attention upon the correct use of the bow. It is assumed here that the long, slow bow is the most difficult for the beginner to use. For this reason, the first eight exercises are for very short strokes--two or three inches--with long rests between each stroke to give the student time to observe and correct his positions. The student is allowed to use more bow gradually until in exercise 17 he uses the entire length. When the right arm moves freely, double stOps, or the playing of two notes at the same time, is introduced. This first occurs in exercise 19, with the playing of two open strings. Here it is used as a bowing problemp-involving the elevation and lower- ing of the right anm--but throughout this work double-stOps are used as a constant check for playing in tune--intonationp-the greatest problem for the violinist. In correct violin and bow positions, when the middle of the bow rests on the strings, the violin, how, the forearm, and the upper arm form a square. (Figure 9, p. vii) All bowings performed from the middle to the point must be done with the oreanm. All bowings from the middle to the heel, with the shoulder. The wrist must always be moderately flexible. Exercises l-4 Place the haw on the E string, at about the middle of the bow. Relax the fingers, wrist, elbow, and shoulder-of the right arm. Move the bow down about an inch or two, then rest for three counts. leve it up the same distance and rest. All movements should be quick, but relaxed, using only the forearm and.wrist. Count the rhythm‘while P ay 38- Repeat the exercise until a clear tone is obtained.with a relaxed arm. Each ex- ercise must be mastered before the next is undertaken. ' or flu-st String Exercises 2-4 Proceed as in the above, raising the arm as the strings are crossed, to avoid scraping strings. . A firm at t“. $t’h3 H 2 2. 3 4 Dstn'sg 00' 3rd. Sirius 3 I M G “fins .r iOUfth Stflna : M 'ggercises 5-8 Begin with the up-bow. latch carefully for all signs and directions. lxercises 9-13 Increase the amount of bow used. The bow must be parallel with the bridge at all times. Count steadily and slowly. For the U. H. only the forearm and.wrist should.mbve. For the L. H. only the shoulder should move. lxercises 13-18 Use the full bow. Be sure that the shoulder, forearm, and wrist are used at the correct time. Use i of the bow, beginning at the heel- m v '7 13 14. Use 2 of the bow, beginning at the points. V n V n 15 gercises 19- 50 Elevate or lower the right arm so that the bow strikes both strings at once. lo more effort must be used to play two tones than was used to play one. Correct eleva- tion, not pressure, is needed. 0 a 0 a} part of the bow, beginning at the heel H V 28 count (. )I‘Ll T 0.». Q? be inn' thenV ° out Exercises 31-57 In skipping strings, be sure to hold each tone its full value. Use all the bow, then raise or lower the right arm speedily, but relaxed. Do not remove the bow from the strings. When the right arm works correctly the skipped string will not sound. \MB. 31 3? Exercises 38-46 The shorter the note, in rhythmic value, the less bow should be used to play it. N[,also point and 58 '3 Pinv also I and 39 ggproises 46-47 The up-bow must be light and fast. The tone must not sound as though it was struck by the bow. v. . v.0; («Wt-3 11.3 4 w... ”'5' Exercises 48-51 The shorter the note in rhythniic value, the less bow should be used to play it. woo. n. wt. #- W 3. Pt. W3. H. 34 mercises 52-60 The first down bow in every measure must be light and fast. 59 C'Mta z 3 1 Exercises 61-70 lhen two or more notes are connected with a slur over or under them, all those tones are to be played in one bow. The slur should be performed with a relaxed arm. The elbow must move up or down, in changing strings. va. w.& A 66 ”Luv V\/ v u, H a '50 L. H‘ H 67 Upon completion of these exercises the student should have a fundsmentsl know- ledge or the movement of the right arm. This is essential for 9. good tone. It is very advisable to review these exercises from time to time, and to apply the various bowings in the studies that follow. The value or fluent bowing cannot be overanphs- sized. 11 s The First Finger in lhole-Tone Position ‘I’ ‘I' ‘I Bend the first finger at both Joints and bring the tip of the finger down upon the string, about one inch from the nut. (Figure 5, page vi) The finger should have sufficient pressure to produce a clear tone. Care must be taken not to press too hard. In playing across the fingerboard--G, D.A land 3 strings-~the left wrist should not change position. Only the finger should cIose-Jfiecome more bent. The very tip of the finger must be placed upon the string, for best intonation, and to keep from.touching the other strings. Raise the finger high, to loosen the tenseness which may exist in the hand. (It is beneficial to practice with high fingers. That is, the fingers should be raised-- not strained-~above the fingerboard and then brought down definitely. It tends to give the fingers strength and independence.) It is well to establish the habit of holding down fingers upon the fingerboard. When not in use, as many fingers as possible should be held down. This will insure better intonation, and result in a more fluent left-hand technic. Notice that the first finger in natural position on the g string gives §#. The first finger could reasonably be termed the fundamental finger. It deter- mtnes the position of the left wrist. If the first finger is played in tune, the pos- sibility of playing the other fingers correctly is greatly enhanced. Per this reason, special effort should be placed upon the following exercises. vma. Q 3—3: 5 5 '3‘ 3 75: 3 0 I ___________ O 0 Exercise 2 In order to be able to play the double staps, the left arm should be well under the violin, the wrist out and the very tip of the first finger placed on the G string. No part of the finger or wrist must touch the D string. The dotted line ( ------ ) means to hold down the finger, under which the line be- ins, as far as the line goes. Holding down fingers is a good habit technically, for t aids correct intonation, and is helpful in attaining greater speed and fluency in playing. * . At all times, be sure that the violin is accurately tuned before beginning to play. Exercise 6 Change the tone exactly in the middle of the bow. w's' . w /-\ A A ' A 13 U. H. also - LH. 14 Exercise 20 Raise the finger high. Move it from the third joint. Be careful to play evenly. Practice slowly at first, then play more rapidly. Listen carefully for intonation. — W9. /———_~\ 2O Exercise_gl Raise the finger definitely and place it on the different strings. The right arm must move freely up and down, and thus prevent dragging strings. Use no added pressure for the double stops. 15 The First ringer in Position for the Semi-Tone . G . The wrist should remain in the same position. To play back bend the first fin- ger further, and from the third knuckle, pull it back toward the nut. lotice that the first finger pulled back on the _E_ string gives 5 . heroise 1 Hold the wrist still. ' love the finger back from the third joint. 17 Exercise 20 Play evenly. First slowly, then more rapidly. Exercise 21 The right arm must rise and lower definitely and quickly-~but relaxed--in crossing the strings. Change the finger and bow at the same time. (For bowing practice, see bowing exercises, numbers 62 to 70, page 10.) \LJQ/J Exercises 22-28 Extreme care should be given to the correct movement of the first finger. In mov- ing the finger forward or backward, be sure that the tones are perfectly in tune. Lis- ten carefully, and make all finger movements precise. Carelessness in this respect in- evitably results in faulty intonation. There must be no question about the accuracy of the movements of the first finger, before attempting the exercises for the other fingers. 22 J The Second Finger e e e To play the half-tone between the first and second finger, be sure to place the second finger very close to the first. Hold the first finger down, wherever possible, and use it as a basis to play the second finger in tune. (Hold down fingers the entire length of the dotted lines.) If the fingers are well bent they will not interfere in the playing of double staps. Keep the fingers bent at both Joints in playing on any of {2; strings. The left wrist must not be allowed to descend under the neck of the vio- When moving back the first finger--to form a whole tone between the first and sec- ond fingers--be sure that the second finger does not come back also. 20 ----—-- ---1 p \u L______..___l L__.____-_..J 17 18 19 20 21 23 0-"- v '2’ Il‘ 24 III. than LII. Exercises 29-32 The first and second fingers, either on the same string, or on two strings, must be close together. The finger and bow must change at the same time. '————Jh———J -__._-_d 23 The Second Finger, Extended ‘I- i ‘I' Hold the first finger still when moving the second finger ahead. gercises 5-8 See "Open .strings,“ Exercises 19-28, page 4 . Hold fingers down. Bend the fingers at both joints. Play relaxed--do not force with the bow, nor press hard with the fingers. Fin- gers forming semi-tones should be close tagether. Listen carefully for intonation. 'The Third Finger s s s Then the third finger is used, care must be taken to keep the fourth--or little-- finger above the fingerboard. All fingers must be held above the fingerboard, ready for use whenever needed. The third finger is a weak finger, therefore, special attention should be paid to raising it high above the fingerboard--without strain--and placing it down firmly upon the strings. Exercise 1 Let the third finger touch the second finger. Care must be taken to keep the second finger from rising along with the third. The left arm must be well under the violin, the wrist facing the fingerboard, and the finger bent at both joints and moving freely from the third knuckle. 25 Exercise 2 If the open string does not sound, some finger is touching it. The fingers must be well bent and touching only one string. Exercise 17 Hold the first finger down while playing with the others. IJ-H. V. 17 L. . -J |L____._..IL _______ ____JL_________________1 Exercise 18 Sound the whole tone during the entire measure. U3. 18 3 ‘1 Exercise 19 To be in tune, the second finger must touch either the first or third finger, de- pending upon the interval. ihen the second finger moves back, the third finger must not move with it. Hold the third finger upon the string until the second finger has been moved back. 27 19 The Third Finger Extended * ‘I * Exercise 1 The second finger must not move when the third finger is extended. Exercise 6 ,To play the fifths correctly, the first finger should be placed in the space be- tween both strings--not directly on either, but touching both. The violin must be accurately in tune or the fifths will sound false. The small notes in parenthesis indicate that those tones are to be preparedb-be- fore continuing the exercise. Exercise 8 Listen carefully to the intonation. ’Ufi. .Exercise 11-14 All fingers forming semi-tones should be close together. 5O The Fourth Finger s e s The left elbow must be well under the violin, the instrument held high, and the left wrist out, with the palm of the hand near the fingerboard. This will bring the little, or fourth, finger, close'to the fingerboard, giving it extra reach. If pos- sible, curve the fourth finger, as all others. Play with a high finger, moving from the third knuckle, without strain or undue force. (The finger must never be allowed to drOp below the fingerboard.) In putting down the fourth finger, try to throw it toward the face--to acquire a reach without strain. Hold down other fingers, so that the wrist will not move out of position, be- cause of the action of the little finger. Exercise 1 The notes in parenthesis are to be sounded to insure correct intonation of the first fingers. Exercise 2 Place the finger between both strings, touching both strings. Exercise 9 In moving backward, the third finger--touch the second--to form a whole-tone be- tween the third and fourth fingers, be sure that the fourth finger does not move back- wards also. 9 32 Exercise 17 Listen carefully to the intonation of the octaVe. ‘Egercise 18-21 Raise the little finger high, then reach for the tone. (Stretch the finger in the air before placing it upon the string. Do not stiffen the finger.) All fingers forming semi-tones must be close together. Hold down fingers as indicated. Practice each.measure carefully. U.H. 18 . - The Fourth Finger, Flatted * it it Hold all fingers down. Fingers must be bent, so that they do not touch any other string. Bring the fourth finger close to the third finger. 1 b |~ g _ __:—-__"—':_:"'.__ __, 34 The Fourth Finger, Extended a a * Exercises 3,4,7,§ The tones marked 4 4 are enharmonically the same, and so are played with the same finger. ' Scales and Arpeggios s e a All bowings written in Chapter III may be employed in playing scales with un- questionable benefit. The student should strive for accuracy, smoothness, and speed. Practice scales and arpeggios one octave at a time. The major scales are given, and then the tonic minor scales. The minor scales are of the melodic type. G IaJor G liner (Eelodic) 36 A flatfuajor A Major A Minor B flat Major B flat Minor 1.34! 4 4 4 4 4 v 38 Studies in the First Position ‘I' 'I . The following study is to be used as a finger exercise. it first, practice slow- ly and carefully, listening constantly for correct intonation. In slow practice all fingers in use should be raised high and brought down firmly upon the fingerboard. Hold down all other fingers wherever possible. Gradually increase the tempo, playing with lower fingers, and always strive for evenness, and perfect intonation. The efficiency of the right arm.may be greatly improved by practicing Studies 1, 2, 3, 5, 6 and 7, in various bowings. 40 This study affords special drill in changing strings smoothly in passagework. Allegretto i? V This is to help strengthen the fourth finger. Raise the fourth finger high, mov- ing it from the third joint. Bring this finger close to the fingerboard. Allegretto £1 The triplets should be practiced first in the middle of the bow, and later at the {point and heel. Play the triplets evenly, with the same length of bow for each tone. Moderate 42 Pay special attention to the movements of the first finger of the left hand. In its movements from the whole-tone to the semi-tone position be sure it is moved far .enough back. In moving from the semi-tone to the whole-tone position, be sure it is moved far enough ahead. ‘ 43 In measures 1, 2, 3, 5, 6 and 7, hold down the fingers forming the first tones until the second tones have been played. Observe the dynamic markings and.make defi- nite contrasts between loud and soft. Allegretto 44 Strive for a smooth sustained tone. To obtain a crescendo apply a little more pressure with the first finger to the bow, and increase the speed of the bow. The op- posite actions are necessary for a diminuendo. Adagio A 4 P :Mf:—I> :2:- >—- . f The long tone in each measure must be heard clearly. Andante The movements of the right arm must be accurate. In attacking each tone use first finger pressure at each change of bow, and move the forearm rapidly. ‘ In skipped strings the elbow must move up or“ down so that the skipped strings do not sound. 45 Practice this study at the middle, point, and heel of the bow, using very little bow, with a flexible wrist. Moderate 10 46 SUIIARI {*9 It was the purpose of these studies to give students a fundamental knowledge of the scape and use of the first position, and to acquaint and drill them in the basic bowings. This was attempted by introducing each difficulty encountered in learning to play the violin, by stressing correct playing postures, accurate intonation, and good tone quality. It has not dealt with the problems of advancing into the positions, difficult double-stopping, vibrato, intricate bowings, and harmonics, because it is be- lieved that these problems are entirely beyond the scOpe of the beginning violinist. The adult pupil upon careful completion of this work, should be prepared to study successfully the Thirty-six Etudes by H. E. Kayser, supplementing these etudes with scale studies, such as those by J. Hrimaly, and special exercises in the first five positions by 0. Sevcik. Those pupils who need more drill in the first position should study Franz Wohl- fahrt's Sixty Studies for Violin, Book I. 47 APPENDIX *‘I'Iv Position Charts The five following charts show graphically the finger distribution in each of the first five positions in playing the violin. AlthOugh the material used heretofore deals only with the first position, the complete range of which is clearly shown in Chart 1, the other charts are included so that the pupil may see how the fingers are placed in the four positions that follow, in a continuation of violin playing. The first five positions are most extensively used as playing the violin, although the range of the instrument goes beyond these positions. The manuscript shows the normal tonal range of each position, and the strings and fingers which produce these tones. In the advanced positions, in addition to showing the range and finger distribu- tion of each of the advanced positions, their range is compared with that of the first position. The tones in the brackets represent those tones which may be played either in the first position, or in the position being compared, and also shows the fingers and strings which produce them. It will be noted that as you advance into the positions, the intervals between each finger become smaller. The higher the position, the closer the interval, the closer the finger. 48 First Position" first Po sift)» 3 I Z . ‘0' 79— 7’— FNI’C”? ' z 3 J- D Shins Gr The Hamel Range of the First Position Kim‘s. l LID ll /"’hb‘+" '£'~“\ / \ . / \ - - Fir‘t Fla," Q/_ __ ‘_ a .. ;% Flr‘meye’ \ . \\ L :_> Scent! PM!" ‘ / See-ml filjcr é: - m: E. .‘ /~ 1 I’ < - I \ . . - —>Thurd finger / \\ a Four”! fiflfer <_/_. __>Fm.”‘ Flhjfir 4" \x “ 3‘73“: ‘fme‘s (txdfiff. 8‘“; met, be fused ““111 {'irsf I'nger "1’ch wcxf shihj- I i; o A IL The. V’i [in Finger Board * . Andersen, Arthur Olaf, Practical Orchestration. New York: c. C. Birchard a Company, 1929, page 15. AdapEaEIon. second Position. 49 A I second Pagiflioh D SeceuJ Festive" '/ D L — ——- I $— € :22,- 3 j D A . ‘2 FIR 5r Pos;‘h'en \G A Comparison Between the Normal Ranges cf the First and Second Positions [6 M A. E. ff” . r ' /.¢¢ Fir-5f F/njcr ‘___,_V ’ _ ___/ F}, gecond r‘6‘*’;n‘;’fe or \ / “ref f'“7"' "' ’e‘"! m ’ es \ .p v , mare, fhe secfuJ flower sun 5 a NJ F /~'i .\ in firef resl‘fiah. a 0 . "'7" Quin _? Second Finger \xgb ’ ’ [b ' . . / "s e 4 I \ . ‘ T72 "I 5”” /___D _>Thml Finger \ i 5‘ r >~s :: Foqrflr FM] ‘4’ ‘- FM“ 551" 4’s s iii The Vie/in anyer [£4qu *Andersen, Arthur Olaf, o . cit., page 19. Third Posit ion‘.’ Thv'rd Posif'ion G 5 re 0 r—J-‘fi’aéé T’HIVJ fiat-+13” — 2. _ 3 o I W D A /‘ Fc'rsT asifun K A Comparison Between the Normal Ranges of the First and Third Positions IG H E] I \ \ l - . . . _ f F F0 H! rd osrflon lose *5 A B" i’.‘ 2'1": ', Thar] "gone," ' I'll-L g \flc Thu-A f'f'j‘r comes I» The. " ,«fl'rsT POSIf/sn. I / . A17 Fu'rs'r Fm," / ._\_. Second finger 7THH'J 551$? F 13-91 F159» Seaan [557”, /\ \ Timid Finger 4/ / FmrT/I ther ;\7-Fosrfll Fin,” K‘ e)” The 1Violin Finger Board *Andersen, Arthur Olaf, Op. cit., page 20 50 Fourth Position" 51 F-Ollr'rh Pesl'T/en A r"? E #fi 0 / _a_-_9_-. - g! * ,1; a 5.? g‘gf 74:. A r, 9 c? 2 as} f it C? ‘17 3 7 ' 1.5.4; r mash}... / '____9____.__, (“If [s , 9 :66? 1’ L, A amt W D A Comparison Between the Normal Ranges of the First and Fourth Positions ‘uEUB F.*%\ Farina-“tr refit"! ht¢fl¢ \ J!“ f'hjfl'u non fin four"! fine) B I'!‘ c 0r \\ 'f‘ ”Inn—HI {fa-u”: finger alas 1 0 v 0 'I“ “C flfo ros'fl‘h 'l i '00 I I firsf finger \_ __ I . +I-I_. _Fpr‘9+ Fliiier __ __7,Seum’ F157“, 920ml Fm," 4 ,/ Th ' ' ‘ IPA Flh7Cr , --7:Thl';‘l Fm72r / z \ _ X Four” Emit" I A 73¢. V13 If}, Finger Beet-Cl 'Eaersen, IRE—1r UIaI', op. cit. , page 2'? Fifth Position’ 52 I i D K73 29—- £ = _ I v M 1 A a v [I 1 '7 v 7 V I A [A ' ['1 J v [I I 1‘ v r =3 ‘7 .s 1 Y . p / I 1 ’ A Fa. fh Poslflon _ = 3 U- 6 l " g F'PI‘ ool‘hflv G A comparison Between the Normal Ranges of the First and Fifth Positions “9 Mil GI l Foyflnef If anastfun} Idea. BU F H's jut-sf flnyr on ‘f' I {Hi . ‘ hamc 7Il/Gh fine [sf/41; lit/Hg e m cm: 1r: a“? Q‘ G ‘| #:14 fig", aid/7'0" onf «fan dlfferch‘f S‘h'lrn’s ) I e e o A ' fi- - am :r.'..rfin3" °" 0 n 0 0 IE; E ”inflrsghtolift’nfi in 5‘14, rosu‘hon' . FnsT ijcr on b‘ A; E0 8 I], , flue 0* Shiny. . ,fi ‘fi 9 —/7F.-r.¢ F/byer Firsf River 4/:"Eb ,/ Sound ne’er _ _ 79“,,"4 Flufl‘r \ 0“ ‘ /7 ”Md Fm," <—/ E—Sflnrd Finj‘r \ \‘ NH 3’ f Fun”, Flhjcr 4/- -7-Four‘H1 Finger l IMH T63 VI'O’in F757 er Board 1» Andersen, Arthur Olaf, cp. cit., page 28 55 BIBLIOGRAPHY Books Auer, Leapold, Violin Playing as I Teach It. New York: Frederick A. Stokes 00., 1921. .Grimson, Samuel, B. and Forsyth, Cecil, Modern Violin Playing. New York: H. w. Gray' 00., 1920. Sole agents for Novello and“Co., Ltd. Martens, Frederick H., Violin Mastery. New York: Frederick A. Stokes 00., 1919. Van Der Straeten, Be, The Histo of the Violin, Vol. I a II. London, Toronto, Mel- bourne a Sydney: CasseII & $0., EEE., 1933. Methods Auer, Leapold, Graded Course of Violin Playing. New York: Carl Fischer, Inc., 1926. 8 books. Bang, Maia, Violin Method. New York: Carl Fischer, Inc., 1957. 7 books. DeBeriot, Charles, Method for Violin. New York: Carl Fischer, Inc. 2 books. Gruenberg, Eugene, Elementary Violin Lessons. Boston: The Boston Music 00., 1908. Gruenberg, Eugene, Scales and Chords for the Violin. Boston: Oliver Ditson Co. Hohmann, Christian Heinrich, Practical Method for the Violin. New York: G. Schirmer, 1116. 5 bOOkSe Laoureux, Nicolas, A Practical Method for ViOlin. New York: G. Schirmer, Inc., 1935. 4 parts. Sevcik, Ottokar, School of Violin Technic. New York: G. Schirmer, Inc., 1935. 4 ,parts. - Sevcik, Ottokar, Violin Method for Beginners. New York: Bosworth a Go. 7 parts. Singer, E., Daily Studies for Develo in Flexibility and Independence in Figgering for Violin. -New’York: icarI’PIscfier, Igc. Sitt, Hans, Studies for Violin. New York: Carl Fischer, 1890. Van Hoesen, Karl D., Violin Class Method. New'York: Carl Fischer, 1931. 3 books. Weisberg, A. H., Foundation Exercises. New Yerk: G. Schirmer, Inc., 1917. lhite, Grace, Studies,4scales, and Pieces in the First Position. New York: G. Schir- mer, 1917. Wohlfahrt, Frans, Sixty Studies for Violin. New'York: G. Schirmer, 1905. 2 books. MG 2 01947 g. MOM USE ONLY fl— . JULZMQ , We \" MA“ 7 -w ‘ "'CITI'ITIIEIWLEQIMEI[[lellffifllflfljlmfufiflm'fi