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http://www.archive.org/details/schoolofintonati3711sevc
On an Harmonic
Por
Basis
^r
l!
Violin
in
SV PARTS
by
Contents of
INTERMEDIATE STUDIES
FROM THE 2nd TO THE
7th
Book
III*
POSITION
X:
PART
VII:
CHROMATIC SHIFTING
on
PART
one and on two Strings, with Controlling Open String. The Augmented Second. Harmonic Minor Scales, with Bowing-Exercises for Detache,Legato, Staccato and Spiccato.
PART
VIII: CHORDS: Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for Bowing. Preparation of the Double-Stop of the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The Brolien Triad in various Keys, with Changes of Bowing. DISSONANT CHORDS: The Diminished Triad, with Enharmonic Changes, in Single Tones and Double-Stops.
CONSONANT
Arpeggios through the Positions, with various kinds of Bowing. The Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
all
PART
XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Controlling
Open
String.
Strings.
PART
ued.
The AugmentedTriad in Single Tones and Double Stops, with Exercises for Fingering and Bowing.
IX:
The
Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh,the Minor Third and the Major Sixth, with a ControllExercises for Shifting ing Open String. Positions and Finger-Exercises employing different Combinations of Stops for the Chord of the Diminished Seventh. Stretch-
ing of Fingers.
'
13. /?2-2-
PART
VII.
ABTEILUNG
2.7.
VII.
PARTIE
3me _ 7me
VII.
Lage.
Position.
Inhalt.
Chromatische Riickungen auf einer und auf zwei Saiten, mit kontrolierender leerer Saite, inder 2.-7. Lage. string, in the 2 n d - 7t-h position. Die iibermiissige Sekunde in der The augmented Second in the 2& d 2.-7. Lage. 7 t-h position. Harmonische Moll-Tonleitern mit Harmonic Minor Scales with bowingexercises for Detache, Legato, Staccato Bogeniibungen fur Detache, Legato, and Spiccato in the 2 nd - Imposition. Staccato und Spiccato in der 2.-7. Lage.
position.
avec
++
Chromatic Shiftings on one string
-++
1.
+0+-
in the 2 nd
7th position.
Chromatische Riickungen auf'einer Saite Glissements chromatiques sur une corde jn\dqr2.-7. Lage. a la 2 1? e -71 e position.
Chromatic shifting with the 2 n_d and the 3 rd finger, keeping the l 3-* finger on the string.
2 nd Position.
Chromatische Riickung
und
et
Glissement chromatique du 2 nL e du 3 ? 6 doigt, pendant que le l e-r doigt reste pose sur la corde.
1
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6.
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exposition.
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11,
tS
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i
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fp
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VII
2. Ghromatische Ruckungen
mit kontrollierender leerer Saite.
3.
13
Glissements chromatiques sur deux cordes avec controle d'une corde a vide.
3me Position.
Position.
Lage.
m-VO.
1.
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11,
a =3
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rtw
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^
3.
15
Grlissements chromatiques sur deux cordes avec controle d'une corde a, vide.
4"le Position.
Lage.
i-
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li
1 1
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11
1
1
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l
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or fcgg
II
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11,
VII
16
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VII
18
Chromatic shiftings on one and on two strings with controlling open string.
h 5t-
Chromatische Riickungen
Glissements chromatiques
sur une et sur deux cordes avec controle dune corde a vide.
Position.
IV.
Lage.
5 e Position.
1
kr
l\\
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11,
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19
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11,
VII
20
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11,
j^h
[
i
J J
J^
JF1 J1F3
rW]\ r
ii
VII
2J
Chromatic shiftings on one and on two strings with controlling open string.
6th Position.
Chromatisehe Buckungen auf einer und aufzwei Saiten mit kontrollierender leerer Saite.
6.
Glissements chromatiques sur une et sur deux cordes avec eontrole d'une corde a vide.
6
Lage.
m e Position.
.
.
:il_2:
:
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. :
g te? tef
? ^#?
te
1.
BBS
a
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te
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up
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11,
VII
22
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11,
g g
nz
^p
VII
J.
&
6
Chromatic shiftings on one and on two strings with controlling open string.
Chromatische Riickungen
23
Glissements chromatiques
sur une et sur deux cordes avec controle d'une corde a vide.
7
7^
1
Position.
Lage.
m e Position.
.
L
u2
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At
ite
l.
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ete
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te
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&
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Sevcik Op.
ii,
VII
24
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11,
25
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11,
VII
26
minor
keys.
2 n_d Position.
l
wi
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Sevcik Op.
11,
VII
27
ifc i^r'r^ry'T
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t>
l
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i
l;
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3 me
minor
keys.
Position.
Lage.
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11,
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VII
28
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in verschiedenen Moll-Tonarten.
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11,
l
,
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VII
29
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Sevcik Op.
VII
30
5^
IV.
Position.
i
Lage.
me position.
^Bgjpjjjjlg Eg
fc
liJj jJi^
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4
b
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27
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b
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i
Sevcik Op.
11,
VII
31
4 P-
III.
-3
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a:
P-
%r?
nr
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LO; r eg nciiri
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'
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'
'
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i I
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i t
minor keys.
Position.
l
Lage.
4
||,
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J J JJbgJ
v^
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a
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Sevcik Op.
11,
tog
ifi' f
'i
&- vw m W *rf-r *
VII
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l i
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S^
3.
=2
21
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3
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221
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in.
1
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Sevcik Op.
11,
VII
33
II.
1
'
'
**
ImJ
' I
'
LJ
'
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'
'
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j-J
I
L,
II
H
of"
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tee tete
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P
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in.
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ttr
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ib
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tt
I
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, i
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Sevcik" Op.
11,
VII
34
ftjj-jJ i^rcf^
Pm rrrr^ h^ fcrrT
1
fp
*E
-2
ps
2.
rjif *r
i
1,
1 *cj
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2
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i
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pqi
Sevcik Op.
11,
VII
35
m
1
12.
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i
hjj
f''
l,
ui'iTI^^
1.
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^
i
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n]
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.
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i
jtj j i
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j^
f rf
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j Hj
jjjjTfi
^MSi
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5*
Sevcik Op.
VII
36
M im t^m
fiP
fig;
m
j i
i.
J J.
'
J.
qJ
rn^ m
i
{M
jj^jjrr
J? ff rf r
r^
cjrrirrf
4.
ifai g
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j-JJcrcJ' cr
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JlJi
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2.
el 1-
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ii
l*3
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flj
'r
g^r
ntf rff^
ff
rTf^^
Sevcik Op.
11,
VII
37
Position.
Lage.
1
1
fcH
*'
ffi
^m
i
s
TOlJ
F$ nm
2_
=S
i J^cjxrr
j^fT^n Q JiTji
2.
jj
ji
uJ j i'rrrff
i
is
m^
i
ii
fi
2=
JTJi?
r/1 ^
r
UXJ
U ^mm
SE i
r
ii
73 JJTJ J?
1j- JIJ
jp mJJ
Tlr
L^grfrTrcic^
Sevcik Op.
11,
VII
3.
1.
i>W
i i
f
"i
Tidi
n
r
prfipf7}-m
tf~dift fl
SP f } JTTi
[
J7%? rTf^ n
J J ^
1
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3.
te^ # ^S u r
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3-
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j
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i
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l
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te
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r c
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3
m^ vus
.
i
as p
a
VII
rJ'
;ca;N-L/n rrrrrrxJ
Sfff[
^^
Sevcik Op.
11,
39
1
#
i
j,
j.
#3P
n
U*
gS
1
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1
^P
r^ f f> r7m
jj gtfrg
ii
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22=
2=
pk Jgtf
J
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J
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fc "r
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:r
ifc
en
2.
2;
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r:
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i JxJ r ? T^
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M.
tt
IF*
IS J
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r
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J^
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iJ^Lli'M' M
'^
iii'
i
11
a. gy ijr^{jiJj'jj-jjj^r
VII
u Trr^rr i^i
gMl
Sevcik Op.
40
with bowing-exercises.
4th Position.
fc feE
J
'"
,J
H
\
J Jjti
nl^n
^
. .
^
g =e
^
i
OJjr
j*
If
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rr^Hg
jj^rrrfr
*pssi =
*fe
pg
jj^TrlrnflUcjif fcflr
P..-.N,.-.Frrf0
'
2>rez Viertel
Bogenldnge.
\
VII
41
-4^
2 2
[j* j
ii
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^s
i
g? jg ri;
^p
'riZj-'r^frirfrrrr?ri
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r?
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r
SB
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i
gin frrirr
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te
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ti : r"r
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rrn: ^
fe M35 p
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n
en
ii^
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Sevcik Op.
11,
VII
42
W^ m
i* sp *& JB
^
&
SI
^m
-o-
nn
tort* ^ iVTHi
I
u
4
o^j
tttft \fffttr}
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it
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i
amcr
i
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r r
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ft
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up
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u.
&
m
gg
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m^ s
j ..
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ms
i
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PS r2rTOrir
r*r?r-ifff
rrf_#
Sevcik Op.
11,
VII
43
Lage.
& ^
III.
BE
$$&-
is
rn
i_\ 1
& ujn
n-
nS
1
1
2.
I-
&
wt=+
osj
l
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rc!fl
m
tfr
ms
m c!crrrCfci^
i ^# s
g rir.rrf/1^
p
II. 3
IV.
I
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9-
114:
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2=
EEg
^ ^^
&
W-
^m
S'evcik Op.
11,
VII
y pBUl
r
III.
1
^
13
-2-
T
J I" J
1
i
I
1
Sbe
i
it
cjrxr
S3 c; ^
r
J J
1
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^m
Ste^
fete
p^f | i r]2;
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ffrrrff f fftS>
i
xt.
ji.
ffffj^rrr
11,
te as
Sevcik Op.
VII
j..
wm
# Al<
III.
^B "^ # a
i
m&
i
wz.
TO
/Irr*
^
45
l PpU^ 'U*
tf
m^
^^
K|
fag
ii.
fcfc?
gg gp
2.
rOTJU J? ^^'OX
j
l
S=
III.
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ri
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frr r
^
i
wt
ipg
:;pfp Ff#
tf^#
rtfTffftfff
Ute^S
Sevcik Op.
11,
VII
46
with bowing-exercises.
6^
2
Position.
Lage.
III.
'pff
m mg
J?n
i
in
r
i i
gj^n
^
hi.
3
i
IJ
^cjH
#
r
2-
jTif?T frrm r
rrtfnff ffto?
,
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#!
j flfr.
S
I.
g riff ffrr^?
S
i
rTrtf^f
f f CtTq
tfrif?
Sevcik Op.
11,
VII
47
IV.
4,
^=^
^ dr;r
Lfc^i^ppg#rff-
III.
<p
_;
tt^isJJi
LTCJCCJ*
'
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g^=^
s
2
IS
IV.
LrCxjcj
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^
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3!
j,^i
J"3
HE
2t
S^g
-
g HP
F g
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H
"-=
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ftt-rn
Sevcik Op.
11,
VII
II.
3,
1
jdWttrru)
amcr
3
S m^ s
frr
r
in.
1
'U
lui^vt
ricf f Tfrttr
HA i
fpf i
rfrfW FfQ^rr
w fe3^3
IV.
o
3
=ZZ
fe^*
1W
s
jg
^^
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TT
M pi*
*fe
^^
ttp
crffrrfc
f:
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11,
Se
jjJS
Sevcik Op.
VII
49
Position.
Lage.
grfrf f
ff
fg ^
Ito
&
^ ^
ni.
3
g^g
e#
r
I
i
is
US
*r.rr
fe
q
:
rrff frr rr
'Trr ftf
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Abreviations
et
Signes.
Bow
by means of fractions:
Whole Bow.
Half Bow.
First Half.
Cramer Bogen.
i
i
Tout l'archet.
Halber Bogen.
Erste Hdlfte.
3
1.
Demi- archet.
Premiere moitie.
Seconde moitie.
2
2.
Second
Half.
Zweite
H'dlfte.
2
1
One Third.
I
I'
Ein Drittel
des Bogens.
Un
tiers de l'archet.
Two
Thirds.
Zwei Drittel
des Bogens.
%
3
1.
Deux
tiers de l'archet.
tiers.
Firfet Third.
Erstes Drittel.
3
2.
Premier
Second Third,
Third Third.
Zweites Drittel.
Drittes Drittel.
3
3. 3
1
Deuxieme
tiers.
i
5
3
Troisieme tiers.
One Quarter.
Three Quarters.
:
Ein
4
3
Un quart
2
de l'archet.
4
1
4
1.
4 4 4
2. 3
? "|-
|"
4 4
2. 8
'
Quarter.
des Bogens.
4
drittes Viertel.
Deuxieme
H
V
Down-bow.
Up-bow. 1 )
n
V
Hernnte?sfrich
Hinanfstrich
l
)
n
V
Tirez
Poussez. 1 )
Broad Bow.
Short, detached (staccato),
(martele)
Largement.
Bref, martele (staccato)
gehdmmert
(tnartele
hammered
"
(sautille;
)
Springing, bounding,
spiccato; saltato).
"
(sautille;
"
Sautille (spiccato).
Lift
Bow.
?)
Bogen heben.
Kunstpause (Luffpa
Erste Saite, E.
Zweite Saite, A.
Dritte Saite, D.
Vierte
Saite, G. 3 )
Levez l'archet.
Kunstpause (Luftpause)
First String, E.
use) 3)
/'
Kunstpause (Luftpause)s)
Premiere corde, Mi.
H
HI
Second String, A.
H
DJ
Deuxieme
corde, La.
Third String, D.
Fourth String,
G. 3 )
m
IV
o
IV
o
IV
o
Quatrieme corde,
Corde a vide.
le
Sol. 3 )
Open String.
E-string.
Leere Saite.
Sul E,_onthe
i
Sul E,
l
mi.
Retenez
le
le
The
little
finger
is to
Liegenlassen des Fingers anf welchen das Hakchen zeigt. Mitte des Bogens.
M.
Fr.
Retenez
crochet.
M.
Fr.
Milieu de l'archet.
At the Nut.
Am
An
Frosch.
der Spitze.
Au
talon de l'archet.
Sp.
Sp.
la pointe de l'archet.
1)
*)
Ohne JSezeiehnung
tfer-
iter
Anfangsta/ct iwitner
*)
8
)
a brief rest.
*)
On
ment
OTAKAR
OPUS
II
SEVCIK
ARRANGEMENT DES
MATIKRES.
Lage.
Introduction to the
1st Position.
1st Position.]
Ha
lib 1
III
."
H5
IV
IS PoStion!
1st
*Part
Position.
J
Supplementary*
"
in die erste
Partie I
'.'.
Introduction a
tion. Tt
la
premiere potiMatieres
1. 1.
Nebenbei
vorzunehmen*
"
\\t ~\
ttt 1
JJ,
IV
1. Lage.
Major rhythmic Scales from Parts Ila and lib. Pieces (1st position, Grade I) with piano. 2
"
VThe
"Abt. V Die rhythmisierten DurTonleitern aus Abt. Ila und Vortragsstiicke (1. Lage, lib. Stufe I) mit Klavier.'
IV
Ire
,
"J" 08 - lre P
S05 OS
'.'!
"-
'!'
0n
}
j.
Supplementaires.*
;*?
"J
Position.
"
Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin to
the 29 Duettinos
Einjiihrung
soivie
from Parts
)
I,
Ila
and
"
"
lib.
2.-7. Lage. und IV, Violinstimme zu den 29 Duettinen aus Abt. I, Ila und lib.
"
in
die
Dazu: Abt.
die
lib, ziveite
III
Partie V Les Gammes majeures rythmiques des Parties Ila et Compositions (Ire posilib. tion, Degre I) avec piano. 2 Introduction a la 2me-7me PoMatieres supplemensition, taires: Parties lib, III et IV; aussi le second violon des 29
I,
Ila et
VIa Vlb
Position. Position.
Sunnlementarvt Supplementary!
in the 2d-
Via Vlb
_. DaX ^
IVeisen
in
der
" "
Position.! Su Position.]
J^H6 !, n
Lage.
^^
"
Vic
VII
VIII
Position.
40
Bohemian
"
Vic VII
2.-7.
sen.
"
"
Vic
VII
VIII
2me-7me
"I
"
position. Position. 40 Melodies Matieres supple mentaires: Parties Via et Vlb. 2me-7me Position. Matieres Supple men taires: Partie XII
la
2me-7me
bohemiennes.
"
"'
IX
"
XI
VIII
}
-T-1.-1.
Lage.
"
" " "
Supplementary
IX
X
XI
2d violin to the 40 Bohemian Melodies (Part Vic). W. A. Mozart, Sonatas for violin and piano. No. 4, 7, and others.
XIIThe
2.-7. Lage ge.A 2.-7. Lage. > ge. 2.-7. Lage. J ge.
%Abt.
IX
Dazu%
XI
2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. Partie XII Le second violon
} [
(Introduction au demanche).
taires.
"
XII s
2d-7th
Position. Introduction to Shifting. Supplementary: Sonatas of W. A. Mozart, Nos. 4, 7, and others. in ShiftScales in a Variety of Forms through 3 Octaves. Supplementary: Concert-studies:
XIIDie ziveite Violinstimme aus den 40 bohmischen IVeisen (Abt. Vic). W. A. Mozart, Sonaten fur Violine
u.
Klavier, Nr.
4, 7, u. a.
"
XII s
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. Einjiihrung
Lagenivechsel.
"
XIII 4
Transitional
ing
Diatonic
Tone used
Lagenverbindungston.
Form durch
:
"
XIII*
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.'
Stufe.
XIV
XIV
Intonieren
"
XIV
der
Doppelgriffe.
and
and IV.
Pieces
from
1
Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jederdie gleichen sind, konnen die rhythmischen Vebungen au Abt. Ila und lib selbstdndig vorfiommen vuerden, ohne mit den gleichlaujenUebungen fur die linke Hand gleichen Schritt zu halten. In diesem Falle jedoch sind diese Bogeniibungen bei den folgenden Abteilungen nachzu-
Matieres supplementaires W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc. Note de transition. Gammes diatoniques en diverse s 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 tudes de Concert et compositions des degres III et IV.
:
au demanche.
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.
2
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.
'-
It is of great
play
frequently
holen.
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 decres-
cendos, 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-
ment.
2 To be studied concurrently with Parts Via, Vlb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, X and XI.
Hdufiges Spielen mit Klavier ist fur den Anjanger von grosster Wichtigkeit. Die Klangverschiedenheit zivischen Geige und Klavier, die vollen Harmonien des Stiickes, die feine Nuancierung in der begleiienden Klavier stimme leiten und drdngen den Anjanger zum reinen Intonieren, zum Anschivellen und Abschvjdchen, zum Akzentuieren der Tone. Er ivird geradezu gezivungen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb kann man schon neben Abt. IIIV entsprechend leichtere Heine Stiicke mit
2
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-
Klavier vornehmen.
3
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 faciles avec piano conjointement aux exercices des Parties II-IV. 3 A Studier conjointement aux Parties Via,
Neben Abt. Via, Vlb, Vic und VII vorzuNeben Abt. VIII, IX,
nehmen,
4
und XI vorzunehmen.
Vlb, Vic, VII. *A etudier conjointement aux Parties VIII, IX, X, XI.
On an Harmonic
Por
Basis
lOIifl
in XIV PARTS
by
INTERMEDIATE STUDIES
FROM THE 2nd TO THE
PART
VII:
7th
POSITION
X:
CHROMATIC SHIFTING
on
PART
one and on two Strings, with Controlling Open String. The Augmented Second. Harmonic Minor Scales, with Bowing-Exercises for Detache,Legato, Staccato and Spiccato.
The Chord of the Domenth in all Keys. inant Seventh in Arpeggios through the Circfe of Fifths in all Positions, with variThe Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
ous kinds of Bowing.
CONSONANT CHORDS:
Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for BowPreparation of the Double-Stop of ing. the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The Bro/cen Triad in various Keys, with Changes of Bowing. CHORDS: The Diminished Triad, with Enharmonic Changes, in Sinde Tones and Double-Stops.
PART
XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Controlling
Open
String.
Strings.
DISSONANT
PART
Diminished Triad continued. The Augmented Triad in Single Tones and Double Stops, with Exercises for Fingering and Bowing.
IX:
The
Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh,the Minor Third and the Major Sixth, with a ControllExercises for Shifting ing Open String. Positions and Finger-Exercises employing different Combinations of Stops for the Chord of the Diminished Seventh. Stretch-
ing of Fingers.
HARMS,
Incorporated
/y
y^r
PART
VIII.
ABTEILUNG
2.-2 Lage.
Inhalt.
VIII.
PARTIE
VIII.
2d-?th Position.
Contents.
2me_7me p os ition.
Table des Matierss.
Accords consonants
dissonants
et
CONSONANT CHORDS:
Placing the
KONSONIERENDE AKKORDE: Aufse Finger fiir den Doppelgriff der reinen Quinte, mit Bogeniibun gen in der 2.-4. Lage.- Vorbereitzen der
Preparaperfect Fifth when later on the lower or upper tone of the Fifth is soundin the
2<J
- 4th position. -
The
double-
in
tung des Doppelgriffes der reinen Quinte bei spdterem Erklingen des unteren oder oberen Tones der Quinte in der 2.-4. Lage.- DerDur-undMollDreiklang in Doppelgriffen inder 2t 7. Lage.- Der gebrochene Dreiklang
in verschiedenen Tonarten,mit Stricharten, in der
L'accorddetroissons
broken Triad in various keys, with changes of bowing, in the 2^-7'i po1
2- 7.
Lage.
majeur et mineur en doubles cOrdes a la2 B e -? H e position.- L'accordbrise de trois sons en diversestonalites,
I
sition.
-?th position.
DISSONIERENDE AKKORDE: Der verminderte Dreiklang mit enharmonischen Verdnderungen in einfachen Tonen und Doppelgriffen durch verschiedene Tonarten in der 2.-7. Lage.
2-7 ve
po-
ACCORDS DISSONANTS:
L'accord diminue, avec changements enkarmo niques, en cordes simples et an doubles cordes, en diversestonalites ala
2me_7nie position.
1.
The placing of the fingers for the double-stop of the perfect fifth in
the
24 Position.
Aufsetzen der Finger fiir den Doppelgriff der reinen Quinte in der 2. Lage.
Maniere de placer
a la
les doigts
pour
2 e Position.
Q
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1.
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2.
The placing of the fingers for the double-stop of the perfect fifth
in the
3d Position.
Aufsetzen der Finger fur den D oppelgriff der reinen Quinte in der 3. Lage.
Maniere de placer
la
les doigts
pour
a,
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of the fingers for the double-stop of the perfect fifth in ^i1 Position. the
The placing
Aufsetzen der Finger fur den Doppelgriff der reinen Quinte in der
4. Lage.
Maniere de placer les doigts pour la double corde de la quinte juste a, 4 e Position. la
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Tlie preparation of the double-stop of the perfect fifth where the lower or upper tone is played later,as the
arrow shows.
2l Position.
Vorbereitung des Doppelgriffes der rez'nen Quinte bei spat erem Erklingen des unteren oder oberen Tones, wz'e der Pfeil zeigt. 2. Lage.
jouee plus
tard,
comme l'indique
*) In
is
repeating the measure the first note placed simultaneously with the last note
as a double-stop.
) Beim Wiederholen des Taktes wird die erste Note zugleich mif der letzten als Dftppelgriff aufgesetzt.
*) En repetant la mesnre la premiere note doit etr\e placee simult anement avec la
derniere\
comme double
corde.
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5.
11
The preparation
3 rd _
of the double-stop
La Preparation deladouble
de la quinte juste a la
corde
Position.
s>
Lage. o
3 e Position.
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22
15.
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different kinds
7th Position.
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19.
25
Dissonant chords. The diminished triad with enharmonic changes in single notes and double-stops in various keys in the 24 -repositions.
Dissonierende Akkorde. Der verminderte Dreiklang mit enharmom'schen Veranderungen ineirvfachen Tonen und Doppelgriffen durch
verschiedene Tonarten in der-S.-ZLage.
Accords dissonants. L'aecord diminue avec changements enharmoniques en eordes simples et en doubles eordes en divers tons a la
2 e -7.e position.
The diminished
triads:
*
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SevcikOp.UVm
26
4. Pos. 4. Lag*, 4. Pos.
y W*
f\
I*
II
-f
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o
^
o o
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ten
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i
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itt
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fl
IV
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feeig
Sevdik Op.ll VIII
Wrf
rnrfncccfiietfririiJr^rr^rfi
28
The diminished
20.
triads:
=w
2.
2.
Pos. Lage.
Pos..
It
^9
$
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i
'
J.
j^'j
r
eJ
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a)
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3.
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a e i <& v Pos.
I
5.
3.
JES E
2
ap
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22
3
p o
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SevSik Op. 11 VIII
0-
p~r
UaL g_a
rrag
3 Wn*^:;^ PPP
Bat
zzz
fea g.
lJjJ,_
at*
2 O
Pf#
o
(3
29
4. Pos. 4. L a ? e 4. Pos.
-^^ t
O
1.
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U
o
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BS
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|
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ig 3=4*1
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tz
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^
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if
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o
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a gg - _
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l
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f f fr
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SeveikOp.liVIII
32
4. 4.
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33
Ill
6.
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34
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35
4.
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p ^jltjjO^JJU^J MM
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23.
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triads:
:
37
n*~
Pos.
2.Lage. 2. Po
Jf
j*
ggg
^^^^Bg
o
3.
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if
fe#
P s?
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m
te=fc
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3.
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PS
i
W*
^ J^JUsif^iiJ^'WM SJ^
i
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evcik Op.llVIII
38
Pos.
Pos.
4.
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4.
3SEBE 35
IV
-^
cr/ pit
ii i
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4
In
In
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39
6. 6.
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6.
Lage. Pos.
- IV
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Sevcik'Op.ll VIII
u^
l
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B^Jl3J^lP
||
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40
24.
The diminished triads: Die verminderten Dreiklange: Los accords diminues:
2.
2.
Pos. Pos.
**
33 o v
vro
-p5
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|
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41
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:
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.
6. 6.
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Pol
Q
z:
77
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m
i
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l ^fe
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7.
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7. 7.
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Pos
^ i^ua^^i^^ ^f
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Sevcik Op.U VIII
ii
t>
|
t,
r^-
^^*
Abreviations
et
Signes.
Bow by means
Whole Bow.
Half Bow.
First Half.
of fractions:
Ganzer Bogen.
I
i
Tout l'arehet.
3
1.
Hatter Bogen.
Erste Hdlfte.
2
1.
Demi- archet.
Premiere moitie.
Seconde moitie.
3
3.
2
2.
Second
Half.
3
1
Zweite Hdlfte.
2
1
One Third.
3
1.
Ein Drittel
den Bogens.
Two
Thirds.
3
3
1.
Zwei
3 3
3
1.
Un
Deux
3
2.
Firfct Third.
3
2.
Erstes Drittel.
3
2.
Premier
3
8.
Second Third.
Third Third.
3
3.
Zweites Drittel.
Drittes Drittel.
3
3.
Deuxieme
tiers.
3
1
3
1
3
1
Trolsieme tiers.
4
3
One Quarter.
Three Quarters.
2.
4
3 4
1.
'
Ein
4
3
Un quart
2
I' I'
de l'arehet.
1
1.
4
1.
3.
4
2. 3 '
Quarter.
4 4
2. 3
'
Deuxieme
Tirez
troisieme quart.
n
V
Down-lnw.
Up-bow. 1 )
n.
Herunteisfrich
Hinaufstrich
x
)
n
V
Poussez. 1)
Broad Bow.
Short, detached (staccato),
Largement.
Bref, martele (staccato)
gehammert
(martele
hammered
"
(sautille;
)
(martele).
Springing, bounding,
spiccato; saltato).
"
Sautille (spiccato).
Lift Bow.
Bogen
(Luftpause) 3)
/ i
ii
fieben.
Levez l'arehet.
/ I
Kunstpause
Kunstpause
(Luftpause) 3)
/
I
Kunstpause (Luftpause) 8)
Premiere corde, Mi.
First String, E.
Erste Saite, E.
H
HI
Second String, A.
Third String, D.
Fourth String,
G. 3 )
Zweite Saite, A.
Dritte Saite, D.
Vie7-te Saite, G. 3 )
H
in
Deuxieme
corde, La.
m
IV
o
IV
o
rV
o
Quatrieme corde,
Corde a vide.
le
Sol. 3 )
Open String.
Leere Saite.
Sul E,
l
mi.
Liegenlassen des ersten Fingers. Liegenlassen des Fingers auf weldas Hdkclien zeigt.
Mitte des Bogens.
Retenez
le
The
little
is
finger
to
Retenez
crochet.
M.
le
c/ien
M.
Fr.
Milieu de l'arehet.
At the Nut.
Am Froscfi.
An der
Spitze.
Fr.
Au
A
talon de l'arehet.
Sp.
Sp.
la pointe de l'arehet.
1)
1)
O/t/ie
rfer Anfangsta/ct
~) ")
3
)
fiezezchnung der Kichtnng begittnt iinwer am Frosch. Bogen fieben und fcurze Pause wachen.
Saiten soil nicht
^)
un bref
silence.
On
ment
CONTENTS OF
SCHOOL OF INTONATION
By
OTAKAR
OPUS
SEVCIK
I!
ARRANGEMENT DES
MATIERES.
Lage.
Introduction to
1st Position.]
1
Ha iS
IV
Ila
lib 1 III
l ffi
1st
Part
Position.
J
Supplementary*
rhythmic
"
IV
in die erste
Partie I
Nebenbei
vorzunehmen*
1.
Ire
Scales from Parts Ha and lib. Pieces (1st position, Grade I) with piano. 2
VThe
IV
Major
*Abt. VDie rhythmisierten DurTonleitern aus Abt. lla und lib. Vortragsstiicke (1. Lage, Stufe 1) mit Wavier?
"
Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin to
the 29 Duettinos
Einfiihrung
in
die
2.-7.
Lage.
Position. } Matieres Position. SupplemenPosition, f 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-
Dam:
sotuie
Abt.
die
from Parts
I,
Ha
Vil
and
"
"
lib.
lib, zvjeite
III
und: IF,
sition.
Matieres
supplemenIV;
Position. ). ..,+ ^Supplementary Position. f40 Bohemian Melodies in the 2d7th position.
HI: iZ.
t40
2.-7.
sen.
Weisen
f-f
in
der
"
Vic
VII
2d-7th
Position. 40
re
Bohemian
Vic
VII
Melodies.
"
Supplementary: Parts
2d-7th
ing).
Vie
VII
VIII
bohemiennes.
Supplementary:
2me-7me
Matieres
VIII
IX
"
XI
VIII
-r2.-7.
Lage.
] ) J
Supplementary
IX
IX
X
XI
2d violin to the 40 Bohemian Melodies (Part Vic). W. A. Mozart, Sonatas for violin and piano, No. 4, 7, and others.
XIIThe
X
Dazu%
XI
2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. Partie XII Le second violon
| [ J
lAbt.
"
XII s
2d-7th
of W. others.
Position.
Introduction
to
XIIDie zweite Violinstimme aus den 40 bbhmischen Weisen (Abt. VIc).W. A. Mozart, Sonaten fiir Violine u. Klavier, Nr. 4, 7, u. a.
Lage.
xn=
2me-7me
tion
des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc.
Position.
Introduc-
Shifting.
XII s
Einfiihrung
in
Diatonic
XIII 4
Lagenverbindungston.
:
Rode, Concerto No. 6; Viotti, Pieces from Concerto No. 23 Grade III.
;
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
Doppelgriffe.
Dazu: Foriseizung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jederdie gleichen sind, konnen die rhythmischen Uebungen aus Abt. lla und lib selbstdndig vorgenommen vierden, ohne mit den gleichlaufenden Uebungen fiir die linie Hand gleichen Schritt zu halten. In diesem Falle jedoch sind diese Bogenubungen bei den folgenden Abieilungen nachzuholen.
au demanche. Matieres supplementaires : W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc. XIII Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires fi t u d e s de Concert: Rode, Concert No. 6; Viotti, Concert No. 23; compositions du degre III. XIV Intonation des doubles cordes. Matieres supplementaires Continuation des fitudes de Concert et compositions des degres III et IV.
1 Because the sense of rhythm varies in individuals, the exercises in Parts and lib may
Ha
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.
2
It is of great
play
frequently
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
The
f'dnger
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. 8 To be studied concurrently with Parts Via, VIb, Vic and VII. * To be studied concurrently with Parts VIII, IX, X and XI.
- Haufiges Spielen mit Klavier ist fiir den Anvon grossier Wichtigkeit. Die Klangverschiedenheit zivischen Geige und Klavier, die vollen Harmonien des Stuckes, die feine Nuancierung in der begleitenden Klavier stimme leiten und dr'dngen den Anf'dnger zum reinen Intonieren, zum Anschvcellen und Abschwdchen, zum Akzentuieren der Tone. Er ivird geradezu gezvmngen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb iann man schon neben Abt. IIIV entsprechend leichtere kleine Stiicie mit
Klavier vornehmen.
3
Neben Abt. Via, VIb, Vie und VII vorzuNeben Abt. VIII, IX,
nehmen.
4
und XI vorzunehmen.
Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ha 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. 2 Pour le commensant 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 intonation juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tcus 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, VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII, IX, X, XL
1
Violin
in SIV PARTS
by
I!
OP.
11.
Contents of
INTERMEDIATE STUDIES
FROM THE 2nd TO THE
7th
Book
III.
POSITION
X:
PART
VII:
CHROMATIC SHIFTING
on
PART
one and on two Strings, with Controlling Open String. The Augmented Second. Harmonic Minor Scales, with Bowing-Exercises forDetache,Legato, Staccato and Spiccato.
PART
VIII: CHORDS: Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for Bowing. Preparation of the Double-Stop of the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The Broken Triad in various Keys, with Changes of Bowing. DISSONANT CHORDS: The Diminished Triad, with Enharmonic Changes, in Single Tones and Double-Stops.
CONSONANT
Arpeggios through the with various kinds of Bowing. The Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
Circle of Fifths in all Positions,
PART
XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Contra/ling
Open
String.
Strings.
Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh, the Minor
Open
String.
PART
ued.
Exercises
for
Shifting
IX:
The
Positions
different
for
Stretch-
Property
HARMS,
62
Incorporated
NEW YORK
LONDON, ENGLAND
WEST
45th STREET,
CHAPPELL
Printed in U. S. A.
Copyright, 1922, by
Harms
Inc.
lUillilllllliii i
JjsMT
PART
in the
IX.
Position.
ABTEILUNG
Inhalt.
IX.
a
PARTIE
la
IX.
Dissonant Chords
2nd -7th
Contents.
Accords dissonants
2me-7me Position.
Continuation of the Diminished Triad. The Augmented Triad in the 2d-?th pos ition in single tones and in double - stops, with fingerand bowing-exercises.
,
Continuation de l'aecord diminue. L' accord augmente a la 2H&- 7ffieposition en cordes simples et en doubles
cordes,avec exercices pour les doigts
et
pour
le
coup d'arcbet.
Dissonant Chords.
2d 7th position. (Continuation of the exercises in Part VHI.)
in the
Dissonierende Akkorde.
Der verminderte Dreiklang in der 2.-7.Lage.(Fortsetzung der tlbungen
der
aJ
Accords dissonants.
a) L'aecord diminue a la 2me-7me position. (Continuation des exercices de la Partie VIII.)
VLU
Abteilung.)
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I f frmfT r
*
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O,
f
i
f
g
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i
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HI
bJ
g j pe^ 3^j
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i i
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i
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l
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|
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i
^J1ji^
ll
j, .ii.|.
l
nJ
^ f'rr
l
ni
6. 6.
Pos. _
Lage.
6.
Pos.
^
i
IV
JEB!
1
'
1_
in
Sevcik,Op.ll.
IX
1J
_!?:-.
* -.^ftftte f rfrf tf
\> 2
i i
ft
ft
fff ffff
|
te
fi
kft.
|
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|
ht
Tr^ ffmp#J#
^. 1.
|
nr
4
1
rfirr'r
'42t
(I)-
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rrf ri'rrrr-iri^
r-i
JT XX
ttJ
ir^r
l>ftft.
fe --.^ftfe
fefil>ft~i.
IV
7.Pos.
P
r
-ffil
TT
l>ft
i
tir~>
1
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g i^f ftfrrf g
i^rfr ^
rffF fffFm
l |
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a
l
bftg*g
-or.
ggtefitftfi
^*
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fP Tfff ffffr
,
,
te^fi*
bftft
f^^
ft
ft
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'
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'
'
'
1
'
'
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'
I 1
rJ
'
^
1
;fe -Jftte
ite fe% t
m $
Sevcik.Op.li.
r
3
i-
PPr#
1
f rr
tP'r rr ri 'crJ
f^i A
1
12
4.(8.)
The diminished
triads:
jfc-j
^_ % 8
**
II
2.
2.
M.
/C
i*
p|
-a^a-
- *
yb<
^^
-J-
b*
*"*
4
4 *
(D
CU
h*b*
CJ
CJ
cjipcDcrpicrJccrDj
1
4
-,i..-p..p_p.p.2PT2pfsf sf
b-*i
,p
nig
e*
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J"
spiccato
4^
2
4^
2
i
j ti
-P-
n;iLLT
:
CCTKKj
Jn n ^ * * f
"
4 4
*
o
*"
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\>.%k:.
3.
3. 3.
A
,
1.
M
_.l
>
-4411
J f -. ^ nr^r^fc
J_^
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< <?
E ^ .1?5
77
^ w
m _^
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m w
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gilii
p
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a ^fpff
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b
IB JJJ
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l
f^ f ^ fo*
a^ r^r1^ HJJJ- ^^
b
i
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b
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Sevcik, Op.U.IX.
13
4.
-
Pos.
4 L
Q
-
M
V
i
/jk
=:F
*-
*rjjJ
4
aa fflj?
4
b#.
.^bf
lL-l?
F :z^c
eJlfdr rT
b
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f<K*
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vr
i
b
4_
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W
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l
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MJ
1
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1.
3
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V
^
'I 2
f bi.^SS*
si
nr
b
^f rf
i
ff f f rf f y f r
,
f r rr
ftt:
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l
b
(D_
f~r
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f^
t>
rp.^rr^pJ
b
i
i
b
LJ
'
1 m
a fr
b
,
rr
ff ,^ff
HH
FT
?
1
'(!)-
V"b
hriJ
^
t
l
mm
,, f
iJl
iin^rr
^f^
Sevcik.Op.ll.IX.
14
rv
6.
Pos.
6.
Pos Pos.
IP^T!
=3
g g
Jj
s
,J
J
i
JP>r> U P
JE3E
r J
i-i. A. rfrf fr
i
w f7
b
hf
ff f fg^
b
He
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(2)
b** *::
b.
m&Bt &*u
h*0
ze
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F^
fffrr 7
r nffri
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h
b p fi g g
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2 2
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1
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b
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.
t ^tf% %
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pff^f
frfrr.frf Efo.frrffFr
7.
rr'F'tt
-A_3>-
Pos.
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7. .
7.
dSM^
.
IV
(*
IV
d 1
te ?
, \>*Tx
4
1
1
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1*
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r F=fc
I
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V
i
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.
P,rypP
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t
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a
3
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i
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1.
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B
ST*
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i
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^^iJij"i
no
Sevcik.Op.il. IX.
r I r i
J^r^r
^fjr
J5
m
*
2.
:=
:
:=:=* r E Et
: ;
iE*. * E rEx:
:
:
ftb*Ti EE^ftb
b.
fefe"
p~y
nr^
^ gfegu
^^
i
Vrb
?
tote
5.(9.)
^r^
esa.
N9 0. Follows
#
t
Pos.
_A
f
^(D^^
W ~3E
1
;i^=3t
n
\ i
i
2
}fflrfljm
I-
iftam
4 4
i
i fTtfftf ^^
^ rL^rr/fTrr
r r r
i
5i
r*cf
rT
rJ*
i^Sf rffc/r-f
'
xJUri^r
^
(2)
ij
Sc?fcf tr tr tfr
i
i u Cr
r
r? ^^
11
j ]1?J
3.FOS.
f^
-J8
-,
rJ.J
s~
3
II
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^*f*
f*
\
|^*1
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ft
ft#i> ft*^
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ft
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'
jp
rjffffrrrrricljd'
a).
^
4
1
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jjunrin ^
Sevcik, Op.ll.IX.
16
^^^^^Mi M W
O O
i.
mm
_^
V<\?
~#4
tt
1 f
r?
r f > r?^m ^m
r
i
M=zSt
S
1
4.
Pos.
Ql
3.
1 ~
1.
3 _
3_
4.
4.
Pos.
L7- *
cfltt.PAJ??]flp
g
# , *
I
2 -3--
^S
'
^"^ **^
a
a^
4 *
rv
2'
5. 5.
5.
Pos.
Lage. Pos.
i>
:
F7T3 ffl
n n
lt
^>^vrp
3 3
i p~r ,
p?
> r > r
^fc ry
m.
f rr p
#P
(D-
pf P
pJ
3
g^-,,
TN g l g
g
,
l
LjLgljU
fla^o a
^3
Sevcik, Op.
11.
K.
J7
fe
c: -
#-
fErrrrtfi^rtfrLrtr ^rrrrrr
i
(i)-
jtrr^rfrrr
rijf ^fjCr
^^^
2 2 3
^JTiJig
^s a am
7.POS.
7 :p^-
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ff%=
J 7 g> *? ij j * ft' lO 10
tf
j' j
i 1
J
, I
CJ-J CJJ
jp^
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:
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4. 4
AAA
3
3
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(1)
4 4 4:
4.
w-
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iaru.ririfi'UfifLfLf CcrLCfLrLr'C
i
ffi^
A continuer avecleN9J.O.
Sevcik, Op.ll. IX.
18
m
*>)The
augmented triad
in various
)L' accord
augmente en diverses
tonalites a
la,
2me_7me position.
s
2. Pos.
I
3
1
'*
ft
s
3
33a
2. Las-e.
2.
Pos.
= e33=:i; 3
ff
iil
'I.
3 J^ t rS p '*r
,ff
^g
11
i js-
tfiif j
r-Hrfrincrr
r rr
nntrWrfi
fr*r
4.
^jij^ JJ ^ru^^rirrlrrr?r
i^J^ju
ii
Pos
5.
Pos. Pos.
Q
v9
5.
P? b b
Sevcik,Op.U.IX.
is
1
I
r c
Wfr rrj M
i
L dam
|
\
^PBfel
*'Le N96.doit etre etudie avarit le N92.pour alterner avec l'accord diminue.
fe*
rp.r.fr
i*=
O
1 1
-r 3
u--'
'
&
H
xs
J9
,~~.
=ffi
6. Pos.
6*.
Snfrrfiff^rfr;^
Zagi?
6.
Pos.
Pos. 7.Zagg.7. 7.
Q
ffc -t*-
Pos
mM
Jt
i-
ft%
.I
se%
,W
3^
e*g
.
Pte
* Jfefi:
trrrrr
N 2.
Follows.
A continuer aveeleN92.
The augmented triad of C minor Der iiberrnassige Dreiklarig in G .... G moll: 3a= ' L' accord augmente d' Ut mineur-. J
l.
-A
2
(*
<
i 1
2.
1 1
wm
^
i
^
c
g-7-ilJfa
*,
pj 1
i l
A^~
J
f r r fr r
i
fn^f rr
i
ir'T
ff r rf
i
il
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r'r
^i
i
'
*,
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177^ TTHJ'pfff
ff flp JTl =t
Sevcik, Op.ll.IX.
Si#pgiifet *
#
=-
'
* mi?
g
i
2pZ2ZZp2
ep
90-
rrf n rff f f
'
* ib r 1
J
(tt-
l""^
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IS
%.
F^
g .frff
jj#?a
uu t>g
3_
4. Pos.
4. Pos.
Q
-gpL_y
1 te
# - y* 44 4 l
,
l
"?
fcr
kJT
CTJib
2
^^po
'
^
i
a ?? bo
2
3^ 'D*
ij^EE!
z>
zj
2^2 bg
r
l;
i
V f fr
B==ep^
iff ^
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1
Pos. 5. Lage. 5. Pos.
5.
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l
fff
i
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X
.
A O v
2
JZS
vfl)
p3=
if
t^ 4 *
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i
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=
=-#
r
-4-4-4
Sevcik, Op. 11.
IX
000
^ mmim^km^ikmmm
* J
I
bJ *
J *
'
bJ *
'
* bJ
*J
'
*bV*
\>*
(
2\
0-
iJ
ipf rh*
rr
i^
r '^
^^
6. Pos.
6.
Pos.
3
?
3
l,
^
I
a:
'rf f
r r
ltf'r
tfr
CJ"
r~Cj'f
r: /
4.
J~3
iac
m
7.
fl 7. Zagv?. -/jL
7.
rr0 Ie&^
3
r*
}:
~* r?
j i*p'
fLff
1
1
tff
3
m ^^
3
Pos.
0:
Pos.
A<p^~-
l*^JVi
o
1
ryV l
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pi?f
FWp
fc
^u
1
'(1):
~jf
I.
^ff
|tf
^y tr r
eft
c^'t trf a
53
N9 3. Follows.
fo^f
Tv^r 3.
^
8.(4.)
i
\,\\
II
sx
j
Acontinuer aveoleN9?
Tho .augmented triad of F minor: . Der nbermassige Dreiklang in F moll; 3 [ L accord augmente de Fa mineur c
O
2. ,.
Pos.
pos.
f\
o
|
j|>..
r
2 J
lf
m
1
j i
i
i:
>
C_
'
ri
"[
'-'"L^
"^
rr'LL^i
Dfi
of
J.
lit
Lrr
sb;
3zat
iP^P^^PP^
Jr
i
i.Sprr'rgrrXJi
I
L.
i^rrrr^ferfg rUi'PljJj^L.i
Sevcik,Op.U.IX'.
22
s
3.
3,
3
i
3
i
3. 3.
Q -^(*- i
w)
^k
2
3
3.
17
[V
_pgg
r
'*CP
CT
'
^
22
i
2_^
i FP
,1
i
jj
2
,
a
j
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ji
Q.
-
^
r r r
l
pg
I | ,
r
2
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l
r?^^)^
4.
-
Pos.
4 Lage 4. Pos
BS
I*
Jrf J_J,
r
J .JJ_J
I
h
i
,1
l
't
r
l
i''c;['EJ
1
W
m p
r
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j
i
iJV
crJ
uff
i
iu
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ills 'till
'
=f
iTxi fA
P^F
S
i '
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cir
4
rT
^r?^i^rrr?r i&r^^,i^
g
.
1
5.
Pos.
5.
5.
Lage.
Pos.
'.
s |
2 4
b
,
f pp
|
ffYfffiYffffffr tf^PP
r'irl'
LUj*
2
6.
^
:
3
:
3
:
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b
:
3
:
6. 6.
A
3r a
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Sevcik,Op.ll.IX.
f d-F
W^
"*
[[&
W
^
. fz
i
23
^
1
r rr
i^ r
r
7*:
r
i
C d r l rj j" CL i ci
i
i
^v
^
g
*T:
.
5#^#f
,
=qPk
*-a-
ifeis
* **
7.
Pos.
fl
(ft ?
7.
Pos.
*'
m smm
*.
* *
fff
r ffrff
,(!)-
= =
1-
-1
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:jeeibzi?^:e
#
'
lT"
li
ncir
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==Epfe.
B
1
i
^ ^ w^ *-%
i
^^
l^f i
t.
rr
yffffF
9.(5.;
iggl
3
I.fW,gtf
augmente de Si mineur:
2.
Pos.
_A
i-i^-i?^1 2. Pos
-Hjiflgfi
O
1
'Up
3,
flr *
s
?fct&&Ut,kt
iIT
o o
'(!)_
cr"i
"<
T5"
3,
3.
2.
Lage. 3. Pos.
3.
J(
te
JjJ,J
i'hJJ
I
3,
r
t
l
g^ r
b
2
P^f a
3
M?i
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m&i
2 2
3.
01
o o
lp-ffi
M^
i
4. Pos. 4.
%
#-fl
ii
j
2
1.
m
2
'
gfc i
^i ^' i fe
f
i
ii
ffiju
Pos.
J J z
i
tig
j j
^ il
^ffi^
r
""!
i^
3^
-
r
o c
1
2_
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g | ^itr r>
i
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jjji
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it
p?
4
5.
^
i
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3
ii
l
Pos. Pos.
Q
S9
*Nlfr
Pr*rf
5.
^^ frf^ rV'rO P
, P
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I'F^
^
'
i
m
ii
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cj
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m.
-7
r ^ r ttf
-'
llf
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#tete
^ ^r^^fc*
fflrrfTtfri
.%-^3
6. Pos.
6.Lo,ge.J
6. Pos.
I*
- o o
<fl>
II
ga
fca
LJ
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^^
Sevcik, Op.ll.IX.
25
3 3
o
'
trr
r
It-' r f^rrTrrfr
r*
yg
te
te"
i
teM
H
'-i#.
|
tffr ffnr
j fe
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m
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m
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7.
JTi j|7|
O
43
pl
|
HI hi^Vff j l!|fag|i gp
f
"S
tete
Bj--o *3"
Pos.
He 9
i-p
7.
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f1
g
rf^
|
gfaji
ff r
*pf rf
|
| t^ffrf^
i
Select "gft^-sg
S ^^^^^^^
pPP
Krfa.fF
te
(t|itt|
*0Lm
i
2fe#
nrrfrm A
N 5.
Follows.
The augmented triad of E minor:Her ubermassige Dreiklang in E moll: L' accord augmente do Mi mineur:
2 Pos
-
__
m r
I
ao
2.
Pos.
f
yP
1"^
r ft
j.aj.^4j^
:
a
LJ
m
J
^,
f*^''* * -,, -
fff
'fff^r ffi
i
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l
1
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i
=
:
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O U PiqjgPii
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^
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jtfJ
'jtJ
^ Jj-i
& -!^ *
1
&
*-"-#
i
^F
--#
mm
Sevcik, Op.U.IX.
26
I
i,
im
Fffl^
f =
i
(2
r-0-
I gcarriTr^cf^
pf
M
f f,
^
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wm
i
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#
a.
m?j
Jj.i
rj^
'
M
3
:
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1
i
3.
tot
'njj
|ppp
jy
'
jj^l^
s
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I ,
W
2-^a
|
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^Jj M jfe
L jJ jJ
i
T=?
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J ,-JJr
cT" err
I
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2
=7*
3.
^y
3
vJXTJJJTJ
P?
feS
cr
-
fe5
tt"^
if
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2
1
mm m
zzz
gr
'
J
r
f
te
i
L
4
,i4
tfr. rr r ^ #rrr L
i
'X&-
4-4
tele
i 4^
it.
-je
'(!)-
r Miff fn*
r
i
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relPM
gi
TTT3J
i
Jj iiTflte i
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f^i 3r
Sevcik,Op.ll.IX.
IS ^.c *yI
-&
=* 1 _ "*.
SH
yiH
tee
27
sT frrf?/r
1
fr* rr rr
(i).
*etes CfrJi^flji^r'g ig
fejfi
*i
#^
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tt
^!
4 *
4, *i
4_
4, *.
>!
4.
Pos.
Pos.
4.
S f f ffr iffr
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i
fff r^
m
i
.<^gb^ in^Ai
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1
f
1
1 03
44
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= f<
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o $
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fff*
r T
i?fTr
nuffiff f
f ifff
ff fr
11
i
11
rf IT
f r g
if
iWr
rrr
^ s###
Si I
HT3J
=*
m$0m
Sevcik.Op.il. IX.
28
5. 5.
5.
jt ^9
i*
^
.r.,^1
4
2_0
e
O
3.
^3E
ri rufi
irft
is
i
2
mm
^f
*
o
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IK
CJ
SI ii
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J
4 4
4
3
W OT
4 4
E^^
^"f
4
4i
J^
l
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gp
i
gP
pit
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-
r r
fi
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te
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Ir
rfe . d*
i
I
rr^ir r.ffr
f
^p
-*
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Ji
,- -
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=fe~pfff iVj 4
r^
ii
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'(D-
* ^
.
p^P
m l^
1
p^
te
i__
l
1 1
ei
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1
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6.
Pos.
ff.ia^-e.^tro:
6. Pos.
<fP
I rT
.te
.ff f
,FfT Fff
,
tt*,,:z
i
fr-P ,fr
Oi
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QJ
1(
y
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1.
3"
a>
33.
L.
l*E
2-
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I
ii
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r
^ ppM^p
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3
1
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35
*==s=
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itei
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I
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p
jj
Tr? P
r r
Sevcik,Op.U.IX.
VI
4^-4
i=;=;lte
^
a
^"4
3-s*
29
eg fife^
Ml
sfefif ft
:
*-
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~^lt#e
p
fee
7.
-
mi
^q ggS
iTr
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s=
ig
I
fete
ft
s
TT
j t 1= fff .HjJ gi
w m
f
i
f i^rf r
g
"
ii
'
fee fefe*e
fS
m
.r/frCrrri"'
Vp i
Pos.
-
*|
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7 LaZe fk
7.
pos.
C v9
itr^rif
2
2
ati:
^
f
i
ffef pp
s
PP
fT
i
w a^
~:
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j
r ir t
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s
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7
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Sevxik, Op.il. IX.
.
|
r
1
N JJ. Follows.
II
A continuer avecIeN?!!.
?<>& nzu.
TT
30
11.
The augmenled triad of D minor: g Dcr uberm'dssige Dreiklang in D moll: /L L'accord augmeate de Re mineur: jfj
4=
ft} 8
"
2.
Pos. _t\
ifc
2.
Pos.
W) g
f rl
Pff
|
Sfe
.
,
r ff
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1 JSJ.J3^s
p*pt
O
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r
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fe=Ir m
# w
2
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1 1
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1
i
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1
1
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(1)
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a)
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r
(i).
g ^ y^
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o o
O
i
^r
i
r
r
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g
4;
jp
4=
J]^L
* 4
3.
Pos.
fCt rTrr
O O
^
nt
,-fcs #r#
i i
rTfr ffiTfrffrrf
H^
S-
teN^e #&3i
i,
^
4 4 4
2
1
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w.
o
F O
a~
i nrpi;
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1
3
O
o
-*-^V
y m
\\
Se^cik,Op.U.rX.
31
^^ >
rs
k
3E
SK
Jjr
jJ 'L'i
^
o b
iii
o
rcfL
^^g
O
4
4 jtfrrr r
i
.iffft^
.1
rii^l'litrJ
4.
Pos.
4. Pos.
iW"9~2
'
I I
|l
>
||
I '
p
-1
.
rlr\^\lT&\&i>\f[frrH # ffppff
.
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4
3
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i , I | ,
3
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3
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8
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i
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l
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32
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i
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fe
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fe
m
6. Pos. 6.Lage.
sgs ^^=
rt
Jf
<*
fF TTr
i
6.
Pos
V ^
i
;::=
Sevcik,Op.ll.IX.
33
fj
fr
=m fc^iiiar^
*r
i
r.
m
pi^
22
o
2 2
^^ ^
a.
Vu\\* m^rn^m
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ft
p J
mm
o
|_1
7.
fepf^.
i
^j W
tee
m nT ffffriffn uVii
i
-"*
2
42
Pos.
:te|
i
rf
i
m^
r
O
1
f j* g^g if
r
3
M
w
\f#
Pr
'4
fTffrff
i
M
o
^
F
Sevcik.Op.il. IX.
nrnrij
4
W=r= ^= ^ =f^
1 1
=}5e
e
4 4
1
::<^
_
i
gipig
iJitp r
i
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34
V,
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:==;=
:=:e:3|
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te~:=
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li
i
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i
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a*
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12.
The augmented triad of G minor: Der ilberm'dssige Dreiklang in G moll: L' accord augmente de Sol mineur:
<
^
1
%
2 2
a. srva.
_'\
w
|
2 *
2 *
2
,
2,
I
I
I
lil
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in
t-
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n
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2
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i
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22:
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iW
I
3.
K.
'
Uj-__*j>^
^^ P
|J
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E#~T3 H *-
'
Sevcik, Op.ll.
35
rfi g f? *rr
I
.
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l
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ii
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4 O
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3
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4
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s To
J r
i
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o
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d
o
tr
1
Sevcik, Op.ll.IX.
R^P
Jl
Sid
ffcW
i^rrirTy
frj^VJ =f
36
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T
m
>
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Sevcik,Op.ll.IX.
4 4
4_4
^g ?ff^
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fcf
g% %lea^
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6.
i,
j^
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ii.
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4_4
r?
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o
s
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Pos.
6.
W
3
s^
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,_
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ff
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r
tesii
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^
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fel
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uyr lI&ji
i
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4
fe
U
b
1.(2
b*Si =
be f^f:
fit r
i
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Sevcik,Op.U.IX.
we few.
'Mi
te
1
we *%w
'
we*i
*
'I
3.
'
f iTfF fffFTi T
i
'
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w'
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f
i
rW
'(_
'fr g iLirtrr?r
^ fe^
13.
Arffe
ffiffb.
fgrrfiffrrff
PP
N9 13. Follows.
The augmented triad of Cjt minor. iter uberinassige Ereiklang in Cis moll: fL w tf g " " Uaccord augmente d' Utjf mineur: t)
^R
r*f
"rftr Jfrfr
fe .rUfffcrlf
a
<*fffc fr *
o
3
bb m
4
Sevcik.Op.ll.IX.
^s
ii*urnnm jj<m
39
3.
W^
J J
Jj
^
[
i
1.
'
i
3
i
BV
5"
i"
JII
"iv
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iij
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r
i
vr
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to
i
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r
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fa
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1
w
I
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1
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1 g:i
:
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r^
l
g^^
O
3
1
1
H,J
ag
f
3
J -*gj ^ g+\-+
JJ^l^JJl
3.Pos. 3.Lage. 3.P0S.
f\
s g^^W^'r
|
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te
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jg
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ti
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i
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feu Hr,
Sevcik,
^<ypfft -r*
<bf?
* ^[' r^r^i^s
i
Op.U.IX.
40
m ia fey
J
ii
m
38
'M'r i
w iggispg ^^^?
fe
nJvi'rrPi n
-j^f,1
4.
Pos.
4. Pos.
p*pf
ffig jjgl
ui
rT'U
tir^
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|
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5.
Pos. Zagw.
o
t
gC
5.
Pos
Sevcik.Op.ll.IX.
4J
*4*
O
ipff 4
fe i*t
O
2-
ii*
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O g
2
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as
i
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teft.
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;
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,
it
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i
fit
is
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;
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ftj jgj
i
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Pos. 6.Lage. 6. Pos.
6.
/^
afc
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ii t
tfff
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| p f
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Sevcik,Op.ll.IX.
42
.its
^>
' '
toss
ff^
'
'
'
ikM
*,!
*m& ***% 1
|rff
,V^4
irv^
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i
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gg
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7.
s ^.tt.tfe nrfetel
###
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,
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7.
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p
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HI
Sevcik,Op.U.K.
<
^^ffr
rupffJ
irLrP[ritr# r
m^r'r LET
i
|
Abreviations
et
Signes.
Bow by means
l
of fractions:
Whole Bow.
Half Bow.
First Half.
Ganzer Sogen.
Tout l'archet.
5
i.
|
|"
Halber Bogen.
Erste
H'dlfte.
Demi- archet.
Premiere moitie.
Seconde moitie.
Second
Half.
'
\
Zweite
H'dlfte.
One Third.
|
s'
Ein Drittel
den Bogens.
Un
tiers de l'archet.
|
g
'
Two
Thirds.
Zwei
Deux
tiers de l'archet.
tiers.
Firfct Third.
Erstes Drittel.
Premier
Second Third.
Third Third.
3
3. 3
l
Zweites Drittel.
Drittes Drittel.
Deuxieme
tiers.
Troisieme tiers.
One Quarter.
Three Quarters.
Bin
Un quart
de l'archet.
\
1-
^
l. 1-
4 4 f 4 4
||-
4 4
4 4
ErS fes
I' 3. 3
'
|"
Quarter.
Bogens.
4
2^p
Deuxieme
Tirez
troisieme quart.
H
V
Down-bow.
Up-bow.
1
)
H
V
n
J
)
Hinaufstrich
Poussez. 1)
Broad Bow.
Short, detached (staccato),
(martele)
ii
Largement.
Bref, martele (staccato)
hammered
"
(sautille;
)
Springing, bounding,
spiccato; saltato).
"
Sautille' (spiccato).
Lift Bow.
Bogen neben.
Kunstpause
(Luftpause) 3)
Levez l'archet.
/
I
Kunstpause
(Luftpause) s)
/
I
Kunstpause (Luftpause) 2)
Premiere corde, Mi.
First String, E.
Brste Saite, E.
H
Ed
Second String, A.
Zweite
Saite, A.
H
HI
rV.
Deuxieme
corde, La.
Third String, D.
Fourth String,
G. 3 )
IV
o
Quatrieme corde,
Corde a vide.
le
Sol. 3 )
Open String.
the E-string.
Leere Saite.
Sul E,_on
l
Sul E,
l
mi.
Retenez
le
le
The
little
finger
is to
Retenez
crochet.
M.
Fr.
Milieu de l'archet.
At the Nut.
Am
An
Frosch.
der Spitze.
Au A
talon de l'archet.
Sp.
Sp.
la pointe de l'archet.
1)
2
)
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.
*)
3
3
)
)
Ohne Bezeichnung de/' Bic/ttung 6eglnnt der Anfangstakt itntner an? Frosch. Bogen heden und knrze Pause machen.
*)
un bref
silence.
On
ment
OTAKAR
OPUS
SEVCIK
II
ARRANGEMENT DES
MATIERES.
Partie I
Ha
lib 1 III
"
in die
erste Lage.
"
IV
-1st 1st
Position. Position.
"
Nebenbei
Ila
IF
Lage. 1. Lage.
vorzunehmen*
I
IW
III
*Part
Major rhythmic Scales from Parts Ila and lib. Pieces (1st position, Grade I) with piano. 2
"
VThe
"Abt. F Die rhythmisierten DurTonleitern aus Abt. Ila und lib. Vortragsstiicke ( 1. Lage, Stufe I) mil Klavier. 2
IV
Matieres
\
|
Supplementaii-pc ta r
'
*Partie
V Les Gammes majeures rythmiques des Parties Ila et Compositions (Ire posilib.
"
Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin to
the 29 Duettinos
Einfiihrung
in
die
2.-7.
Lage.
Introduction
sition.
tion,
Degre
Dazu: Abt.
from Parts
} J
I,
Ila
and
"
"
lib.
sovjie die Fiolinstimme zu den 29 Duettinen aus Abt. I, Ila und lib.
lib, zvjeite
III
und IF,
Matieres
Posupplemen-
Parties lib, III et IV; aussi le second violon des 29 Duettini des Parties I, Ila et
taires:
Via VIb
2d-7th 2d-7th
2d-7th
lib.
Position. Position.
RuDolementarvt auPPlementaryT
in the 2d-
Via VIb
n + ZWt
Weisen
in
der
Via VIb
-2me-7me -2me-7me
Position.],,
**#*"
Position.]
Sli
Vie VII
Position.
40
^^
n'
Bohemian
"
Vic VII
2.-7.
"
Supplementary: Parts Via and VIb. 2d-7th Position. Supplementary: Part XII (Introduction to ShiftMelodies.
sen.
Vic
VII
VIII
2me-7me
2me-7me
la
2me-7me
bohemiennes.
Matieres
ing).
" " " "
VIII
IX
X
XI
VIII
-^2.-7.
Lage.
Supplementary
IX
X
XI
2d violin to the 40 Bohemian Melodies (Part Vie). W. A. Mozart, Sonatas for violin and piano, No. 4, 7, and others.
XIIThe
X
Dazu
IX
XI
"
XII s
2d-7th
%Abt. XII Die zweite Violinstimme aus den 40 bohmischen Weisen (Abt. FIc).W. 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. Partie XII Le second violon,
}
j>
taires.
des 40 Melodies bohemiennes (Partie Vic). W. A. Mozart, Sonates pour violon et piano,
XII 3
2me-7me
tion
Nos.
4, 7, etc.
Position.
Introduc
XII'
-2.-7.
"
XIII 4
Transitional
ing
Diatonic
III.
Tone used
in Shift-
XIII 4
Lagenverbindungston.
Form durch
XIII 4
Grade
"
Stufe.
XIV
XIV
Intonieren
XIV
der
Doppelgriffe.
and
and IV.
Pieces
from
1
Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jedermann die gleichen sind, konnen die rhythmischen Uebungen aus Abt. Ila und lib selbstdndig vorgenommen iverden, ohne mit den gleichlauf enden Uebungen fiir die linke Hand gleichen Schriit zu halten. In diesem Falle jedoch sind diese Bo-
Matieres supplementaires: W. A. MoSonates 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
zart,
:
au
demanche.
et
1
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
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. 8 To be studied concurrently with Parts Via, VIb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, X and XI.
-
It is of great
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.
Le sens du rythme
play
frequently
ist
fiir
den An-
fdnger von grbsster Wichtigkeit. Die Klangverschiedenheit zvjischen Geige und Klavier, die vollen Harmonien des Stiickes, die feine Niiancierung in der begleitenden Klavierstimme leiten und drdngen
reinen Intonieren, zum Anund Abschivachen, zum Akzentuieren der Tone. Er nvird geradezu gezvjungen den Ton schon zu bilden und das Musikstiick geschmacivoll
schvjellen
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-
vorzutragen. Deshalb kann man schon neben Abt. entsprechend leichtere kleine Stiicke mit Klavier vornehmen.
II IV
3
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 oeuvres avec gout. cela il peut deja commencer l'etude de pieces faciles avec piano conjointement aux exercices des Parties II-IV.
3 A etudier conjointement aux Parties Via, VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII IX, X, XI.
nehmen.
4
und XI vorzunehmen.
On an Harmonic
for
Basis
in
SV PARTS
by
OP. 11.
Contents of
INTERMEDIATE STUDIES
FROM THE 2nd TO THE
7th
Book III*
POSITION
:
$ L75
PART
VII:
CHROMATIC SHIFTING
on
PART X
one and on two Strings, with Controlling Open String. The Augmented Second. Harmonic Minor Scales, with Bowing-Exercises for Detache,Legato, Staccato and Spiccato.
PART
VIII: CHORDS: Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for BowPreparation of the Double-Stop of ing. the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The Bro/cen Triad in various Keys, with Changes of Bowing. DISSONANT CHORDS: The Diminished Triad, with Enharmonic Changes, in Single Tones and Double-Stops.
CONSONANT
Arpeggios through the Positions, with various kinds of Bowing. The Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
all
PART
XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Controlling
Open
String.
Strings.
PART
Diminished Triad continued. The Augmented Triad in Single Tones and Double Stops, with Exercises for Fingering and Bowing.
IX:
The
Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh,the Minor Third and the Major Sixth, with a ControllExercises for Shifting ing Open String. Positions and Finger-Exercises employing different Combinations of Stops for the Chord of the Diminished Seventh. Stretch-
ing of Fingers.
HARMS,
62
Incorporated
NEW YORK
LONDON, ENGLAND
WEST
45th STREET,
CHAPPELL
Printed in C. S. A.
Copyright, 1922, by
Harms
Inc.
PART
in the
X.
ABTEILUNG
X.
PARTIE
a la 2me-7rne
X.
Dissonant Chords
Dissonierende Akkorde
in der 2,-7. Lage.
Inhalt.
Accords dissonants
Position.
Der Domimnt-Septimenakkord durch L'accord de septieme de dominante Tonarten in der 2.-7. Lage. Der Do. dans tous les tons a la 2me -7me posiThe Chord of the Dominant Seventh in minant-Septimenakkord in Arpeggien tion. L'accord de septiemede dominante arpeggios through the Circle of Fifths durch den Quintenkreis in alien Lagen, en arpeges, parcourant l'echelle des in all Positions, with various kinds of mit Strichartenduintes dans toutesles positions, avec Bowing. Der verminderte Septimenakkord in variantes dii coup d'archet. The Chord of the Diminished Seventh verschiedenen Tonarten in der 2.-7. Lage L'accord de septieme diminuee en diin various Keysin the 2d-7th Position, in einzelnen Tonen und Dpppelgriffen vers tons h la 2me-7me position en corin single tones and in double-stops, with mit Finger-und Bogeniibungen. des simples et en doubles cordes, avec exfinger-and bowing-exercises. ercices pour les doigts et pour le coup,
through
all
alle
1.
d'archet.
keys
in the
2nd Position
2me
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o
3
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f
=
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ma ffP.^ffnffffrn ^
1
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4
== (D
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i
it
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Sevcik, Op. 11 -X
^n ff f FT
ffg
rj J-
J]
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crffitEfr
'
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IV
i
r =
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:
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U-X
*=^p
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Sevfik, Op. 11-X
l
No. 6 follows
6.
/bfetf No.
continuer avecleNa6.
22
6
of the dominant seventh
The chord
in the
in
L' accord de
septieme de dominante
Position.
a.
la
7th Position.
Lage.
7me
fa frrfrfff|ffi!f!f
ffrfrrrr
|
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mgmmmk
Sevcik, Op. 11-X
IV
11
1-
an
.
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23
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f ff -
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mm f##^rfffrn,.r
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rfftf !fff
|
ttETtJ-1
26
7
circle
of
en arpfeges parcourant
quintes, a
l'echelle
des
position,
with
lalre-8me
position,
avee
V.-ii i
__,
'
l.Pos.
i.pos.
Jff
A
a
mim
o
-e>-
2.Pos.
&#* 2.POS
^^^mw^uiim nij^ w
*M
i
ffi
i aff'fl^jjjqir
r^^
nrfi
1
jT
i'
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tjjj
nqiTi
SevJik, Op.
11
-X
^
^^
H.
37
*e
iffiTr^ffl
^Wnrfi^
b*
a*
*t*
4. 4.
PosPos.
VA
4-Lage-
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rr
W^
i
j^rriTirrEr
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i
o
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te
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i
pnirrf|frr"i^
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fe
frff
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lis
ir
rfr
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7.
Pos.
7.
Pol.
p a
'm
msmmm
i
mm gp m
FWa? ^p
frtTiN
&.
j rffP PFTr
l>*itteu
:
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te*
feH^IP f ffi fr
f
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rif f
8.
Pos.
*)8.Lage. ) R Pos.
bl
^g
^g
rr Cff
fifWr'r ^Tf^
ftft
"pttfte
rffSsu.
*'
With
Avec
le
39
8.
The chord
of the dominant seventh
in arpeggios through the circle of fifths, in the lst-7th position, in abridged form.
Arpeggiettet Dominant'-Septimenakkotd dutch den Quintenkteis in det 17. Lage in verkiirztet Form.
forme abregee.
1.
Pos.
l.Lage. l.Pos
rrrr/rn ii T^ *~^?
rr
J^U7> se
Vp-
2. Pos. 2. Lage
2.Pos.
^^
S.Pns.
3.Ltigti.
3.
iJ^C ^r^*
'
frto ^
^
i
j7
^j tf t&r^
i
&-f>fe-R J g)
"
Pos.
If
-*-
*~~
TtPej^r
*f
-'
pi'f
]
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'
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t
' 1 |
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,
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ijOTi
Sevcik, Op. 11-X
Mjiii-rr J
ii
T :t
$-
j^r'rtf frYriflTliEffiJr'
i
mur^N ^^
5.
Pos.
%
5.
Lage.
Pos.
W
(fo
fCrr
'^
i.ffl'
m
Jg
bft^
i
T^'f-TO
^j
^
6. Pos. e.Lage. 6. Pos.
te f f f ftf
i
fr
i
ife=K
f^ft
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fib
TrTf I'Pfrr.^
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7.
~(
fa vy
iii
tw Svfe
S ^te i^^P#
Sevcik, Op. 11-X
^^
m#
fr
te^aa
l
^Ife., yg e
r-
Cxj. Lcrr
i
iu r
9 "(2)
Dissonant chords. The chord of the diminished
enth in the 2nd- 7th position.
sev-
31
Accords dissonants.
in
2me-7me
position.
The chord of
P
P
|
j}
Lage.
POS.
;wf
3
d si 7^2
1
'
^
'J
---a- - J
l
3dj
HJ
J!? *
^P ^^JJl
j^ ^zBJ
J *
pjI
*) No. 9 is to be taken before No. 2 so as to alternate with the chord of the dominant seventh.
*) JVo.
ist
vor No.
uorzune/onen ion
/nit cle/n
*LeXo. 9 devrait
Dominant-Septimenakkord abzuweehscln.
etre etadie' avant le No.3 pour alterner avgc l'accord de septieme de dominante.
Sevcik,Op.
11-
33
l
l
Pos. S.Lage.
3.
3.
Pos
(fo
^^
3
*-
&
I**
ji*
if (K^ *
s itK
*+y+**
=[* sr* t*
$
*
if
*=*
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i
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p
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7?
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i
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o
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o
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l-
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4
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m^
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i-T r
tf
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Sevcik, Op.
W*
irtF -9-0-
'
a-0-
&
U-X
33
i
4.Pos.
.iflg-e. 4. Pos.
ffls
-*
ri
<sf
f =j=f
[,|
ft
^
i
>
SeI
1.
f f
I
11
1
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t
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r #
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1
Sevcik, Op. 11-X
II
'1
Up
jg
=P=
f^jjj
*
34
l"/JV
j^i^j
&
1
ij
yg:
1^
*
J^JCTP^iitfJjJlfjTfN ^ ^? c/
'
-
^g
^zf
jn ^ =ncz =
*p.p
,*
tee
p
:z
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tef
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i.
si
1
vM
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fisj
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ca &
i
I
p p
aa
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p>
frV I
gf f #P U
I
.1
Si
Sevclk, Op. 11-
P
==
fc;frt
eJUc^ii
j # ,x_y t=*
==Ji
ii
o
&
35
IV
2
6.Pos. 6. Laze6-Pos.
JJ
/Ss
..
tij
e
I
e
I
iiJ
jp
JTP g g r =^
i fT f^T] ^! ~>
j
i
jb
f^z:
Si
p
3fe
^^
fe
1
4 g:=fci
fftefe
IP
Ht
.
*
o
i
^
m
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t^w ffrf
te
r
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pI
jt
g
I
r
i
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c_f
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O
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1-
^
r *
* p
i
1
n
J
j^
j_jj_Ufiir
rf
rTffrr^ ^1*
*f ff
wIV
2
frf ^i^.
] pf=
=S
^^
n^
k~~ ffT
b<
I
=
r f i
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|
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r
i
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ffff ftf
fffmr
r>lE
j i *m -to
\
a=
te
21
36
l.
_8,
7.
l 1
Pos.
7.
Lage.
3E
1- Pos.
ti
m
I
c>
'IF
P^fe- ^ff7"f
1
ifr
8.
5,
"lV
n
i
IV
r"rrr rrrr
If-
^ P m P m
*
I
rrfr TTfrfff-f
i
ggiEpfpf jtr^f^.
4
S-
mffTff.rT
#U-* c
r r r r
t>
IV 1
#f^f fe
rr ff
#f * "rfff
gi
Ofyrpfp.ho
J: g C
fe *=e
P I f
I
3.
If
MJ1
bill
b|f>
fff= * bp ,
I |
10(3)
The chord of the diminished seventh: Der verminderte Septimenakkord:
L' accord de sepfieme diminue'e:
37
-fr
*'* **"
y'
ii[
IS
fepp
1 1
J^^'Ji
n ljJJ
'
#-#
^ir^Jljrrjl Jj
i
l J^l Trr i
i
itrfrrrfr
rftff =*efe=ff<
4^3
* F
ff
#-
*&* -+ g 4 g
^3 I
r=r
3E
Sevcik, Op. 11-X
j;
#f
'
38
3.
Pos.
3.
POS.
4 m 6
o
^-tr ~-
m
4
O 2
BiSi
rC;
^r^r
^*Pr f ri
(D1
i
r r r
^J
J^jjjj;-n
r
t7
w-f-r ^jj^firr'Tfffifi^
JH
'J
4 ^.
II
J -ZJ^
,4
a.
*>
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p=fLrr
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ff J
^
1
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* v~\u^
icxrf
^
#*
/
H?
if
Jp
*^~
a e
fi
?
Sevcii, Op. 11-
pf^
39
Pos.
4.
fa
f&y
4.Lage. 4. Pos.
=?f
ei=i
f
^23
i
f
r
i
\
i
4
4
jjg^P
IJ^^J
a)
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^
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1
i
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f&
i
Sevcik, Op. 11-X
(2.
1=
:_
j2
s-
HHH
40
Pos.
(fo V,
o
|
m
ll_
oll
5.
S.Zage. 5. Pos.
gEjf
1 1
-*=
3fc
"
wm
& m
-4
'i
* a
#J
ijJjtJ
J JJ
^m
*-
4.
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r=r=rt
ffin
H rm
~~rm
o
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i
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w
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TF ffr f
i
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3.
w
i
rj?r"rffi!Q
i.
3.
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o
o
aH ? f *
j i#
'
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eT
*==*==*=5^ r
m
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IV
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d "!
J *=*S
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m"P
l
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as
r
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i
Sevcik, Op. 11-X
p-r
4it_*
j
(jjihqsi^M
**
i
i
i*
fe
41
IV
6. 6.
PosLege, Pos.
i
(
i
r-
fo
*=* *
^^
1
1
\D
?
la
'
iLlt [jj^
Oj uP
^T
ftV'rrn
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m f
ppitf
te
ffff ffff
frr f
|
frrf \fr*rt
1
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,
W=H=i
** * o o
Sevcik. Op.
11
*
-X
fiK^
i
.f
*?:
f
o
3
o
42
7.
Pos.
(fo
1,
P-
ZLage.
7.
^f#
Pos.
lr
ill:
Smm a
T '
=
I
BF. _
^PS
:=
.z
te
E#a
E&
jg
jjrffL fr.
ttrff
ff FFf |tfrrff ff fp =r
#
m.
^
0-0
a
T^
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0-0
0-0
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i
mtfr^m
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0-
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00
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2
M.
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0.
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fi
i
f>
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t^
r
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1*
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f f f
f
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*
g I
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f>r
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r
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r>tt F
tfe
mof
o o
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St
Sevcik, Op. 11-
PF
fff K i d
*
i
-i
No. 3 follows.
I-
~<s 77 o
A. continuer
avec le No.3
11.
The chord of the diminished seventh: Der verminderte Septimenakkord:
L' accord
1
2.
3. 2.
43
J?
hi
de septieme diminuee
i
S
o
1
ac
;J^J
$^*
\m
w
s
"r g=T
tt"j>
ijTJ
J
tt
^
F F Z~|T * r
? pw^s
J ^ J * J
o
'
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^rfrf p^f r
J
I.
.ytf
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i
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J
J J. J
tl
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j|
J J
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Jf.r tfrT7> 1
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frffr
1.
i_
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4
j
'
^^
1
a $ r" r" 9
1*"
f"
gr PF
<
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1
E feeP
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9*
pr7J
j'rnitnrcnT
,
*33
T'T-TO
3
1
m
i
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JJ
*"
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j
HI J
ll.tr
i'[xrr^
Vg-rff ;F
ii
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m
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l^
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i ^ ajjjj
fl
:=LfcL
1F
dzcrp
l-F"
o
i
Oi
;f
flf~i
^iH
**
f 'f f
tut bio
ii
44
3.
Pos. Pos.
3-Lage.
3.
(L
Q
(
-T
mm n^r
I
~^J
'
\,l_J
'3~
i.
JT3
1
I,
ti
jE=jN
3.
3"
i
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bJ
gp bS
i \W 1^?
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i.m Ti wf
s
1
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3.
T
is:
g
1
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p7> r
f^f
r
ff frff
rf
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pii l
1
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0^0
o
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2
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r r
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14
45
4.
4.
4.
^^
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I.
J
tt
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s.
m
I
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M=v
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1
1
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1. 1.
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2.
a
I
HJ t H a
W
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2^
II
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1
= p
1
o-
fjt
o
sb 1
b*
1*
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i
ff
"r
be
Tr
* fi% 3
f
i
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*f=H^
r rf rff
(i)-
= i r
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F
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1*
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i^
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n
i
f-f'TfTrJfiftrftr-^l
* g
E^S Si
It"
bi
rr
k
r
r
=JF5
'
I;
46
5.
m
(fo
1!
Pos.
2_
B.
5.
Lage.
Pos.
gf
i.
K (o
'
TT7
nr
*#
'
I P
9
P g
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Abreviations
et
Signes.
Bow by means
i I 1
of fractions:
Whole Bow.
Half Bow.
First Half.
I
i
Tout l'archet.
s
1.
3
1.
2
1.
Demi- archet.
Premiere moitie.
Seconde moitie.
3
2.
3
3.
3
a.
3
1
Second Half.
One Third.
3
1
Zweite Halfte.
3
1
3 3
1.
Two
Thirds.
3
3
1.
3 3
5
l.
Un
tiers de l'archet.
Deux
tiers de l'archet.
tiers. tiers.
3
3.
Firfct Third.
3
3.
Erstes Brittel.
3
3.
Premier
3
3.
Second Third.
Third Third.
3
3.
Zweites Brittel.
Brittes Brittel.
Deuxieme
3
1
3
1
Troisieme tiers.
4
3
One Quarter.
Three Quarters.
1. 1.
1
j. |.
4 3 4
1.
Ein
3
Un quart
de l'archet.
4 4
3. 3
'
I'
|"
^
H
V
3 -"
Deuxieme
Tirez
troisieme quart.
Down-bow.
Up-bow.
1
)
n
*)
Hinaufstricfi
Poussez. 1)
Broad Bow.
Short, detached (staccato),
Largement.
Bref, martele (staccato)
gehdmmert
(martele
hammered
"
(sautille;
)
(martele)
Springing, bounding,
spiccato; saltato).
)
"
SautiHe (spiccato).
Lift
Bow.
s
)
Bogen heben.
Kunstpause (Buftpause) 2)
Erste Saite, E.
Zweite Saite, A.
Britte Saite, B.
3
)
Levez l'archet.
/ 1
Kunstpause (Luftpause)
First String, E.
/ i
Kunstpause (Luftpause) s)
Premiere corde, Mi.
H
HI
Second String, A.
H
HI
Deuxieme
corde, La.
Third String, D.
Fourth String, Q.
3
)
m
o
IV
o
rv Vierte Saite, G.
IV
o
Quatrieme corde,
Corde a vide.
le
Sol. 3 )
Open String.
Leere Saite.
Sul
l
mi.
Retenez
le
Retenez
crochet.
le
M.
T"r.
M.
Fr.
Milieu de l'archet.
At the Nut.
Am, Frosch.
Au
talon de l'archet.
Sp.
An
der Spitze.
Sp.
la pointe de l'archet.
1)
*)
s
)
Ohne liezeiehnung der Sichtnng beginnt der Anfangstakt iminer ctw Frosch. Bogen heben und /eurze J>aicse maehen.
1 )
*)
On
Levez l'archet en faisant un bref silence. ne doit jouer que sur des eordes absolu-
ment justes.
OTAKAR
OPUS
SEVCIK
II
ARRANGEMENT DES
MATIERES.
Lage. Partie I " "
"
Introduction to
1st 1st
Position.
"I
S*
IV
Zlsllolon:
Position.
J
Supplementary*
rhythmic
Ila lib 1
III
in die erste
Introduction a
la
premiere posiMatieres
1.
1.
1.
Nebenbei
vorzunehmen*
IV
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 /Clavier. 2
"
IV
Ire Ire
]
!
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
Dazu: Abt.
sovoie
"
Position. 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|
Supplemen-
sition.
Matieres
supplemenIV;
2d-7th Position. ) ci.. t ,^_+ Via Supplementary* VIb -2d-7th Position. J f40 Bohemian Melodies in the 2d-
VA
Vic
Ill
-?: iZ.
t40
2.-7.
sen.
"
der
7th position.
"
fVeisen
"
in
Position.
Position.]
L";*" Su m en
PP' e
re t
"
Vic VII
VIII
2d-7th
Position.
40
Bohemian
"
"
Supplementary: Parts Via and VIb. 2d-7th Position. Supplementary: Part XII (Introduction to ShiftMelodies.
"
Vic
VII
VIII
2me-7me
"
position. Position. 40 Melodies bohemiennes. Matieres supple mentaires: Parties Via et VIb. 2me-7me Position. Matieres Supplementaires Partie XII
la
2me-7me
ing).
IX
XI
VIII
-7-2.-1.
Lage.
"
"
Supplementary!
IX
X
XI
"
IX
Dazu%
"
XI
2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. taires. Partie XII Le second violon
] S
J
(Introduction au demanche).
and
others.
"
XII s
2d-7th
XIIDie zvieite Violinstimme aus den 40 bohmischen tVeisen (Abt. Vic). W. A. Mozart, Sonaten fiir Violine u. Klavier, Nr. 4, 7, u. a.
des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Senates pour violon et piano,
"
XII s
2me-7me
tion
Nos.
4, 7, etc.
Position.
Introduc
"
XII s
"
Diatonic
III.
in Shift-
"
XIII*
W Lagenverbindungston.
.
"
XIII 4
Form durch 3 Oktaven. Dazu Konzertstudien: Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstiicke aus der 3.'
Stufe.
Matieres au demanche. 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;
:
Grade
"
XIV
XIV
-Intonation of Double Stops. Supplementary: Continuation of Conand Pieces from cert-studies Grades III and IV.
1
"
XIV
Intonieren
der
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. Ha und lib selbstdndig vorgenommen nuerden, ohne mit den gleichlauf enden Uebungen fiir die linke Hand gleichen Schritt zu halten. In diesem Falle jedoch sind diese Bogeniibungen bei den folgenden Abieilungen nachzuholen.
Concert No. 23; compodu degre III. Intonation des doubles cordes. Matieres supplementaires: Continuation des fitudes de Concert et compositions des degre s III et IV.
Viotti, sitions
.
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.
2
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. 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-
It is of great
play
frequently
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.
3 To be studied concurrently with Parts Via, VIb, Vic and VII. * To be studied concurrently with Parts VIII, IX, X and XI.
ist
f'dnger
von gr&sster (Vichtigkeit. schiedenheit zwischen Geige und Klavier, die vollen Harmonien des Stuckes, die feine Niiancierung in der begleitenden Klavierstimme leiten und drdngen den Anf'dnger zum reinen Intonierent zum Anschwellen und Abschwdchen, zum Akzetituieren der
Tone. Er ivird geradezu gezvmngen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb kann man schon neben Abt. tlIV entsprechend leichtere kleine Stiiche mit Klavier vornehmen.
3
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 faciles avec piano conjointement aux exercices des Parties II-IV. 3 etudier conjointement aux Parties Via,
nehmen.
*
und XI vorzune'hmen.
VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII, IX, X, XI.
On an Harmonic
for
Basis
Violin
in XIV PARTS
j
by
OP.
11
Contents of
INTERMEDIATE STUDIES
FROM THE 2nd TO THE 7th POSITION
on
Book
III*
PART
VII:
CHROMATIC SHIFTING
PART
X:
Controlling
Second.
The Chord of the Domenth in all Keys. inant Seventh in Arpeggios through the Circle of Fifths in all Positions, with variThe Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
ous kinds of Bowing.
PART
'
VIII:
CONSONANT CHORDS:
Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for Bowing. Preparation of the Double-Stop of the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The BroJcen Triad in various Keys, with Changes of Bowing. CHORDS: The Diminished Triad, with Enharmonic Changes, in Single Tones and Double-Stops.
PART
XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Controlling
Open
String.
Strings.
DISSONANT
Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh,the Minor Third and the Major Sixth, with a ControllExercises for Shifting ing Open String.
PART
ued.
The AugmentedTriad in Single Tones and Double Stops, with Exercises for Fingering and Bowing.
Copyright
IX:
The
Positions and Finger-Exercises employing different Combinations of Stops for the Chord of the Diminished Seventh. Stretch-
ing of Fingers.
HARMS,
62
Incorporated
STREET, NEW YORK Ltd., LONDON, ENGLAND
WEST
45th
CHAPPELL
&. CO.,
Printed in 0. S. A.
Copyright, 1922, by
Harms
Inc.
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AAAAAAf.^
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PART XL
Dissonant Chords in the 2id_?th Position.
Contents.
Continuation of the Chord of the di minished Seventh: Uniform shiftings of the individual fingers on one string, with a controlling open string._Uniform shiftings with two fingers on two strings, with a controllingopen string. Shiftings of the double-stops of the diminished Fifth and the diminished Seventh, the minor Third and the major Sixth, with a controlling open string.- Exercises for shifting positions and finger-exercises employing different combinations of stops for the chord of the diminished Seventh. Stretching the 4th and 1st fingers.
ABTEILUNGXI.
Dissonierende Akkorde in der 2.-7. Lage.
Inhalt.
PARTIE
a
la
XI.
Accords dissonants
2me_7me
Position.
Fortsetzung des verminderten Septimenakkordes: Oleichm'dssige Riikkungen der einzelnen Finger auf einer Suite. _ Oleichmcissige Rukkungen mit zwei Fingernuuf zwei Saiten, mit kontrollierender leerer Suite. -Ruckungen der Doppelgrijfe der verminderten Quinte und verminderten Septime, der kleinenTerz und grossen Sexte, mit kontrollierender leerer Suite. Lugen-undFingeriibungen mit verschieden kombinierten Oriffen des verminderten Septimenukkordes Ubergreifen des 4. und 1. Fingers.
.
mes des doigts individuels surune corde, avee controle d'une corde a
vide._ Glissements uniformes de. deux doigts sur deux cordes, avee controle d'une corde a vide Glissements des doubles cordes de la quinte diminuee et de la septieme diminuee, de la tierce mineure et de la sixte majeure, avee controle dune corde a vide. _ Exereices pour ledemanche et pour les doigts avee differents placements des doigts pour l'accord de septieme diminuee. Extension du 4 I?e et du lr doigt.
1.
3.Pos.
3.Pos.
S
3
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18
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^^Effis
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19
of the
4(2)
Shiftingsin minor thirds with one finger on a single string, with controlling open string.
Biickurtgen in kleinen Terzen mit einem Finger a>/f einer Saite,mit kont? oilier ender leerer Saite.
Glissements en tierces mineures au moyen d'un doigt sur une corde, avec controle d'une corde a vide.
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Glissements uniformed de l'accord de septieme diminuee au moyende deux doigts sur deux cordes.
_d-3 r d and 3^-4% Shifting the ist_3nd 2 n . Riickungen des 1.-3., 2r3. and 3.-4. Glissements du ler-gme, 2ie.3me et 3me-4me doigt en quintes diminuees, finger in diminished fifths with controll- Fingers -.in verminderfen Quining open string. teti, mit koutrollierender leererSaite. avec controle d'une corde a, vide.
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Sevcik Op.ll.xr
24
Shifting of the chord of the diminished seventh in octaves, with the 1 SJ" and 4th finger, with controlling open string.
7
Ruckungen
des verminderten Sep-
timenakkordes in Oktaven fnit dem 1. und 4. Finger^ mit kontrollierender leerer Saite.
Glissements de 1'accord de septieme diminuee en octaves au moyen du leJ et du 4 n2 e doigt, avec controle d'une corde a vide.
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L jv
0000
26
The chord of the diminished seventh
.d shifted in thirds with the fst a nd 3 r
8.
Ber uerminderte Septimenakkord in it Terzenriickn ngen des 1. mid H.
Fingers, mit kontrottierender leerer
Saite.
finger,
Glissements de l'accord de septieme diminuee en tierces au moyen du l e_r et du S^doigt, avec controle d'une corde a vide.
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27
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IV
O O 2
4
3
,
2?r verminderte
tnit
te.
Septimenakkord
Glissements de l'accord de septieme diminuee en tierces au moyen du 2 nJ e et du 4n2 e doigt, avee controle d'une corde a vide.
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o o
38
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Sevcik.Op.il. XI
10.
The chord
of the diminished seventh 2nd. shifted in sixths with the 1st 3 rd an d 3 r d - 4th f inger, with controll.
29
Glissements de l'aceord de septieme diminuee en sixtes au moyen du leJc-2*$B 3 me. 3 me et 3me.4me ioigt, avec con(
-2^
Sextenriickung des verminderten Septimenakkordes mti dem l.-2.,2r 3. und 3.-4. Finger, mit kontroEie render leerer Saite.
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31
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32
11.
The chord of the diminished seventh while a finger remains on the string.
Der
uerini/iderte Sepfivienakkord
L 'accord
de septieme diminuee, un
i.
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34
3.
as P
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1
35
12.
The chord
on two
of the diminished seventh
string's,
L'accord de septieme diminue'e sur deux cordes, avee exercises pour les doigts.
1.
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frffrTfr Li!,
o
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SevcikOp.ll.XI
36
2.
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SevcikOp.ll.XI
37
3.
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Sevoik Op.U.XI
38
13.
The preceding
finger-exercises
nr
2
1.
2_
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Sevuik Op.ll.XI
39
2.3&E
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Sevcik Op.ll.XI
40
3.
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Sevcik Op.ll.XI
13 a
Exercises in the different positions on the broken chord of the diminished
41
Exercices dans differentes positions sur l'accord bris6 deseptieme diminuee sur deux cordes en cordes simples. Les doigts restant poses sur la corde.
seventh on two strings in single stops. Keeping the fingers on the strings.
Lageniibung in gebrochenen verminderten Septimenakkor den auf zwei Saiten in einfa chen Griffen. Liegenlassen der Finger.
2
jnj jJ
r Jj
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Sevcik Op.H.Xl
y^gs^
Lrr
irA n r'
'iVJ.
42
14.
The preeeeding exercise
stops.
in double-
1.
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Seveik Op.ll. XI
15.
The broken chord of the diminished seventh, ascending and descending, on
two strings
in single stops, the fin gers shifting by half positions to the
43
L'accord de septieme diminuee, montant et descendant, sur deux eordes en eordes simples. Les doigts avancent par demi- positions jusqu'ala
7t"position.
7 ! S e position.
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Sevcik Op.U.XI
44
16.
Die vorhergehende Ubung auf zwei Saiten in Doppelgriffen.
L'exercice precedent sur deux cordes en doubles cordes.
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45
16*
Exercises for the various positions with
different combinations of the stops
Lageniibung
tnit
positions en dou-
of
the chord of the diminished seventh on two strings; with controlling open string.
binierten Griffen des verminderten bles cordes avec diverses combinaisons de Septimenakkordes auf zwei Saiten, doigte" pour l'accord de septieme diminuee, mit kontrollierender leerer Satte. avec controle d'une corde a vide.
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46
17
Glissements de l'aeeord de septieme diminuee avec extension du4 me et du lerdoigt
i
Shifting of the chord of the dimin- Ruchungen des.yerminderten Septimenished seventh by means of stretch- akkordes tnit Ubergreifen des 4.und 1. Fingers, ing the 4 th and 11* finger. = O o -Wh u u u4 o O 1 O O il_ i_ O O m O O
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Sevcik Op. 11. XI
V
f
"fj
Abreviations
et
Signes.
Ganzer Bogen.
l
l
Tout Parchet.
3
1.
Halber Bogen.
Erste Halfte.
3
1.
Demi- archet.
Premiere moitie.
Seconde moitie.
3
a.
3
3.
Second
Half.
3
1
Zweite Halfte.
3
1
One Third.
Un
tiers de l'archet.
Two
Thirds.
2
3
1.
Zwei
2
3
1.
Deux
tiers de l'archet.
tiers.
Firfet Third.
3
2.
Erstes Brittel.
3
3.
Premier
Second Third.
Third Third.
3
3.
Zweites Brittel.
Brittes Brittel.
Deuxieme
tiers.
3
1
3
1
Troisieme tiers.
One Quarter.
Three Quarters.
3. ?-
4
3 4
1.
Ein
4
3
Un quart
2,
de l'archet.
4
1.
4 4
4 4
4 |-
Quarter.
4 4
3. 3
^
n
V
3-'
Vie?-tel.
Deuxieme
Tirez
Down-bow.
Up-bow.
1
)
n
v
n
x
)
Hina/ifstrich
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.
s
)
Bogen
/
fieben.
Levez l'archet.
/
I
Kunstpause (Luftpause)
First String, E.
Kunstpause (Luftpause)^]
Erste Saite, E.
Kunstpause (Luftpause) 8)
Premiere
cor.de, Mi.
H
HI IV
o
Second String, A.
Zweite
Saite, A.
H
HI
3
)
Deuxieme
corde, La.
Third String, D.
Fourth String, G.
3
)
m
rv
o
Britte Saite, B.
Vierte Saite, G.
P7
o
Quatrieme corde,
Corde a vide.
le
Sol.
3
)
Open String.
Lee?e Saite.
Sul E,
l
mi.
Retenez
le le
The
little
finger
is to
cfien
Retenez
crochet.
M.
Fr.
M.
Fr.
Milieu de l'archet.
Am. Froscn.
Au
A
talon de l'archet.
Sp.
An
der Spitze.
Sp.
la pointe de l'archet.
1)
3
)
Unless otherwise indicated, the first measure begins at the nut. Lift Bow and make a brief rest. So practising should be done on strings
not true in the fifths.
')
~J
3)
Ohne Sezeiehnung der Rlchtang begi/int der Anfangstakt i miner am Frosc/i. Bogen heben und kurze Pause wachen. Anf nieht qnintenreinen Saiten soil nicht getibf werden.
*)
8)
3)
Levez l'archet en faisant un bref silence. On ne doit jouer que sur des cordes absolu-
ment
jusles.
CONTENTS OF
SCHOOL OF INTONATION
By
OTAKAR
OPUS
II
SEVC1K
ARRANGEMENT DES
MATIERES.
Partie I lla Ilbi III
Part
"
"
Ha
lib 1
III
" "
Einfiihrung
1. Lage. 1. Lage.
Lage. 1. Lage.
1.
]
I
lla lib 1
///
1st Position.
"
Nebenbei
IV
vorzunehmen*
1st
*Part
Position.
IV
rhythmic
VThe
*Abt. VDie rhythmisierten DurTonleitern aus Abt. lla und lib. Vortragsstiicke ( 1. Lage, Stufe 1) mil Klavier. 2
IV
"
Introduction to the 2d-7th Position. Supplementary: Parts lib, III and IV also the 2d violin to
;
the 29 Duettinos
from Parts
)
I,
Ha
and
" "
lib.
Lage. lib, 111 und IV, so<wie die zvjeite Violinstimme zu den 29 Duettinen aus Abt. I, lla und lib.
in
die
2.-7.
Matieres Ire Position. Supplemen Ire Position. taires.* Ire Position. *Partie V Les Gammes majeures rythmiques des Parties lla e* lib. Compositions (Ire position, Degre I) avec piano. Introduction a 2me-7me Po1
! [
Ire Position.
la
sition.
Matieres
supplemenIV;
Position. Position,
c .,i f + Supplementaryf
in the 2d-
Via VIb
f40
Bohemian Melodies
7th position.
Position.
Dazu^
fVeisen
in
der
Via VIb
2me-7me
-2me-7me
la
Position.
Matieres
Position.] Sup
j^e
men -
"
Vie VII
2d-7th
40
Bohemian
Vic
Ill
"
2.-7.
sen.
Vic
VII
VIII
2me-7me
Matieres
VIII
"
"'
IX
X
XI
"
Fill
-^2.-7. Lage.
Supplementary
IX
X
XI
Part
]
}
X
Da*u
zweite Violin-
IX
XI
2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. taires. Partie XII Le second violon
} f
J
Abt.
XllDie
and
others.
"
XII s
2d-7th
stimme aus den 40 bbhmischen Weisen (Abt. Vic). W. A. Mozart, Sonaten fur Violine u. Klavier, Nr. 4, 7, u. a.
des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Sonates pour violon et piano,
XII
2me-7me
tion
1
Nos.
4, 7, etc.
Position.
:
Introduc
XII s
Lage.
Einfiihrung
in
XIIH
-Transitional Tone used in Shifting Diatonic Scales in a Variety of Forms through 3 Octaves. Supplementary Concert-studies
:
Xlll 1
Lagenverbindungston.
Form durch
3
:
XIII
Viotti,
from
Obtaven. 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.
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 tudes de Concert et compositions des degres III et IV.
: .
1 Because the sense of rhythm varies in individuals, the exercises in Parts and lib may
Ha
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.
'-'
Da die rhythmischen Anlagen nicht bei jederdie gleichen sind, konnen die rhythmischen Uebungen aus Abt. lla und lib selbstandig vor-
genommen
It is of great
play
frequently
vierden, ohne mit den gleicklauf enden Uebungen fur die linke Hand gleichen Schritt zu halten. In diesem Falle jedoch sind diese Bogeniibungen bei den folgenden Abieilungen nacazuholen.
2
7 Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ha 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.
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 decres-
The
ist
f'dnger
cendos, 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, VIb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, and XI.
von grosster Wichtigkeit. schiedenheit zviischen Geige und Klavier, die vollen Harmonien des Stiickes, die feine Niiancierung in der begleitenden Klavierstimme leiien und drdngen den Anfanger zum reinen Intonieren, zum An-
2 Pour le commengant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords plains de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intona-
und Abschw'dchen, zum Akzentuieren der Tone. Er vjird geradezu gezvmngen den Ton schon zu bilden und das Musibstiick geschmactvoll
schvL-ellen
IIIV
3
vorzutragen. Deshalb kann man schon neben Abt. entsprechend leichtere Heine Stiicte mit
tion juste, a faire les crescendi et decrescendi, a Tous ces observer l'accentuation des notes. 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 faciles avec piano conjointement aux exercices des Parties II-IV.
3 A etudier conjointement aux Parties Via, VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII, IX, X, XI.
Klavier vornehmen.
Neben Abt. Via, VIb, Vic und VII vorzuNeben Abt. Fill, IX,
nehmen.
*
und XI vorzunehmen.
Music Department
The Date Due Card
in the pocket indito the Library.
111
425 3 3 9999 04998
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