PART I.

THE POSITIONS.
Exercises on the Open Strings.
Use the rests between notes to change the position of the wrist and hand from down-bow position to up-bow
position and vice versa ; also be sure that pressure is maintained by the bow upon the string during the rest.
D String-

A String-

n
)-<%. Q

n
f

._

V
,

^(4 o

1
'?1

.11

41^

V
r:

-3

3]

G String-

n
-

^N

<):
s

Q"

n
0,

_,.

\1

E String
n
.11. ,
\\-

.11.

:ir

Ti

**

=B
hF=fl

-t-

1
y
:
l1

jii^^

On the D and A String11

<t
u
o
S):\.,

Q
Ti

r*

IL

"

li

On the G and D String-

fc>: /* **

,Z_I^

*-

On the A and E String-> <) /i

J.
./ (. <t

"I

On the various String-s

4.

-O-

-O-

-O-

-o-

-o-

Exercises on the Four Strings in Various Rhythms.

1.

^
-o-

^
In the following exercise, use a smaller portion of the bow on the quarter notes than on the half notes.

y n

n v

=P

lower
half of
the Bow

upper half
of the low

n V n

V n y

lower
half

upper
half

rrr

V n

TT~

Tr

Start this exercise in the upper half of the bow : again, use less bow on quarters than halves.

n V n

Vn V

3.

-J U

fi

f]

'T

rr^Tr

f -i r

r -i r i i r ' r ' -' r * ' j

ij-i r ' r ' ' rir r i

m$

The Half Position.

G string

a
J*

or:

,4

ti

ti sharp A

-O-

A sharp

TF
/'
^ "

1
i
JH1

A flat

or:
o

C
0

or:
o
-o-

'

li sharp

frg

A sharp B

Hfc

D sharp

E sharp

br-

C flat

,2

,4

E flat F flat

or:

i
W

B flat

Esharp Fsham*

uble E
sharp

G flat

Exercses on the Various Strings.

11 is suggested that the exercses on this and the following two pages be played
at first pizzicato that is to say, plucking the string and not using the bow.

On the G Stringh. P.

')
V 14 BVI
\
-1

'j

o
,i .

-n,

<) l
7 \^j

__iTJ
L

-U- J

tfz

'1
1

1? P

r^PU

-\

-H-

"'

V '

L->

on

on

U,,
1
U ^
V '

l\4

ii
*
L

-*

L"

jU

rH

'-

:=
1

,L

-n-v
JtL
1

^-

'

,AA_^
1

SJ

On the D String-

Ly
1

h.R
,

)' ( B

^-.

'i

'J

f-,
J

>

^V

n ri

w
l 1

~^
" ti "2

o ^-p-(9
s.
y (x

r,

mT

(9

(9

-*

^-k
^-^

7" 'J
-1
1

~*

'
4

n ri

FF
1
;>
l

r' ~tf
_5-5

'

nn
^

'J

rt

v >
l

1
1

1
2

>Tj.

nj.
u.r?T*

I'T
I

1P

'
4

'

I TI 3 1 ftP1

b^

On the G and D String-

<;

rn1

z=;

l
4

. U ,U
f

TTT"

i
H

"

1]u
n

li

While playing open strings, keep the hand close to the string, ready to play the next note.

PHS

"ST

2. :/ (/ j

Pnl
O

11

**

1T

14

1rtt"_

.io

hl =f=

f" Do not raise the hand from the G string

L While playing the open D string

1 rP~1

F
0

_
-p

+19
1

PI

|_p
4

Do not raise the fourth finger

: From the D strin; rturing these 4 measures
L^
o9

4V

.'J' (' r

to

to

t^

p
H-H
-Hti h^H Yi p
i

dx-,

bo

H
2

'j

H
Qi
H

pi

"j

[j * t/o j
H
H
1

to

hH

^i

Hp-

On the A Stringh. P.

V * L g k?

b-p

te

~^\~j ~f-

r.

J4
flr.
F
1

frt
2

p- |

^-~

1-?

"77

tc
f"

r;
0

-^

17

__L

fcV .,

~r
2

uvu r.

-^
2

11

~T
1
~J ( / cJ

11 _^1

1
J

1
11
1
H
j

/J

"

-4-^

-f,

On the G, D and A String-s

<i): /t ^
/ ft 1

pp

L"

y u
l

tJ tr?

r
4

0 0

-<.): .T i

rJ

4 0

rnr

2 0

Cf

1 0

_JC

-^T7

e
O

rj

'-

V
U

U i o

-O-

^-4^f

3. ^^F g

-o-

f l |M>
^

\)f.zn

ZZ2I
-O-

10

On the E Stringh. P.

=F=
o
2. ^M4r

hf
2

o ^y /*Ti
uJJcJp

*"

1
^

*V

ii 1

l
, 1

d l

*2

}K

*2

1
l|o

r- ir-l

J
^^

'

^=^1= ^J

-O-

li 11 1

* fe
"

v*

i
1
O

<j
4

-n-J
UV

1'
ri

1l

'.^

%v

fl

T-

D\^c/

'^rj

-t*.

Exercises for Consolidating the Strength of the Fingers.

Practice No. l until it can be repeated indefinitely without tiring the fingers ; then proceed to do likewise with
No. 2, then No. 3, and finally No. 4. Depending on the initial strength of the left hand, this maytakeseveral
days or even weeks to achieve ; the student should proceed with the lessons in the book, returningto thlsexercise
each day. In order to obtain maximum benefit, press the fingers of the left hand as firmly as possible, and stop
to rest when the fingers become tired.
.
.
2
.
3.
4.

1.

r r r ^r r r i^r r r r :iNJ JJ
P *P * ii .

i,

l l

Exercises for the Connection of the Four Strings.

D

11.

f* \
7/' l,

A
V

4!

i1

>

l
U

V
1

^
4

s~>

4 2

q ^

o.

-,
'

A ^
4. ^

(> *~
s

f- r|-

0 2

4 0

-f -

rprr
fj 4
-iV n

r n-p---i

r)

r^

n
P
|

P
0

2 0

4 0

-eJ

.-p

-f-

^~

'

rrj

2 4

^
-dl-ta

-p

-p-p

V
-?-

*o

J.

^~rj
-1

;
()

'

0 2

2 0

0 4

_ii Jl

T"
12_ "^1 -

h^

'J

Hon

-^
^

2 4

-B 0- -

-P-

__tL

'

rT

*-*

1
11

-!t

U-f-

0 4

7- "V

1* _L

4 2

-f
4

*-)

' ' '

R- ^-ts

y-

l
t (J
t

c)

v
yrT"

r*

p
p~~
/".
- P-

-lH

-4--

p**-i
i

F^~ -H -^

n v

ii

H
ty

1 f

_ ri
--4-\-

f
-P
H

0 4

>-,6u -

nrj- %l -f,

--

21

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<
4'

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4^- -j
^
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n
2 .*
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Km^-"L 4
1 _T "

i
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--

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r.

11
F Major Scale

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c
i

r-

4*

"7

TT

f p*^.nIr
LWi

M
l
g

-- -0
h~f~
i ^ -"
i i =^-f-

'' *

1 =3

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i"

HT~

=s -J-

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r"

+
j

r<

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"T~j
_ fj^ j gt-M

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7

w
nsl- "~r

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1 *

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i. *

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r,

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h-]i-H
H
lf i > '
r*

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h-

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4f.

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u

~=r= =
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p
t*

-f

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1

>gLL-j mJ1
=f=f

....

4
~* '-*

f 9-

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h
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->
<lt

Tf

-F--J~f

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j.-s=Ff=

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1
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f
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fi.
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1

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4-

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44 =M

B!> Major Scale

c \ ..
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7.

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i

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rrifjfrirrrrUJ-ifiPff^

3020

* t frequently happens that after ending a phrase down-bow it is necessary to begin the next phrase also on the
down-bow, although there is no rest in which to retake the bow. In such cases a short pause in the sound will
occur during which the player must take the bow back to the frog, but inasmuch as it is at the end of a phrase,
the slicht break will not matter.