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12 ETUDES
INTRODUCTION TO THUMB POSITION
INTRODUCTION A LA POSITION DE POUCE

OTTAWA MONTREAL
 Foreword
U sing the left hand in thumb position 'according to the basic principles of statics' means establish-
ing a hand position which allows the thumb and each ofthe fingers a fully assured, free and supple
percussion without the necessity of either the hand or the fingers appreciably changing their mutual
relationship.
There are four finger patterns which appear most often in thumb position:
Q+ 1 2 + 3, Q+ 1 + 2 3, Q1 + 2 + 3, Q+ 1 + 2 + 3
All these patterns include the possibility of using the fourth finger (with certain restrictions, of
course).
Teachers introduce thumb position in various ways. However, they seldom do it according to a
worked-out plan which solves these important problems. The end result of the advanced years of
training depends on these solutions for without a complete command ofthumb position one cannot
become a master of this instrument.
I agree with colleagues such as my late friend Luigi Silva, (1903-1962), that the shortest and safest
way to achieve static equilibrium and well-formed fingers in thumb position is to firmly establish the
relation between each pair of fingers and the thumb, that is:
Q 1 3, Q1 2, Q2 3
In my opinion, this task must be accomplished before one proceeds to study scale sequences using
all the fingers. Only thus can one avoid risking incorrect hand and finger positions. I am absolutely
convinced that only on the basis of perfect statics in both hands can one achieve a healthy and
flawless technique (motorics), combining impeccable finger action in all positions with correct
relationships between the right hand, the bow, and the strings.
The etudes in this volume will achieve their aim only if the teacher keeps this objective in mind
from the very beginning. He should carefully correct any finger which develops an incorrect relation-
ship with other fingers or with the strings and the fingerboard. He should also correct improper
positioning of the shoulder, elbow and wrist. It is much easier and more effective to set up a proper
thumb position at the beginning than to correct one which has become deformed through years of
incorrect usage!
All the etudes in this volume are written in the octave thumb position with the thumb placed in the
middle of the string. Since there is no shifting, the etudes should be transposed and also played in
higher or lower positions or in the octave position on the adjacent strings. Though all ofthem have
bowings marked, they should be played with different, more complicated bowings. This is important
for development of the right hand technique and is suggested especially for etudes marked .~~ at
the beginning. All etudes should be played slowly at first, with full tone, then faster, with proper
distinction between technical passages and cantilenas. The latter should be played with appropriate
vibrato and correct phrasing.

A vant-propos
Tout en respectant les lois de la statique, le jeu de la main gauche, dans la position de pouce, doit
permettre une articulation qui ne change pas la relation entre les doigts.
Dans la position de pouce, les quatre dispositions principales sont les suivantes :
Q+ 1 2 + 3, Q+ 1 + 2 3, Q1 + 2 + 3, Q+ 1 + 2 + 3
Toutes ces dispositions peuvent egalement, dans certaines cas particulieres, permettre 1'emploi du
quatrieme doigt.
Il appartient au professeur de choisir le temps propice et la maniere d' aborder l' etude de la position
de pouce. On constate toutefois que cela ne s'effectue que trop rarement de maniere soigneusement
planifiee. C' est pourtant de la maitrise de la position de pouce que depend la surete de la technique de
la main gauche.
J e suis d' accord avec mon collegue Luigi Silva (1903-1962), trop tOt disparu, que, dans la position de
pouce, la maniere la plus sure et la plus rapide d'etablir 1'equilibre statique et la position correcte des
doigts est de travailler la relation entre le pouce et chaque paire de doigts, c'est-a-dire :
Q 1 3, Q 1 2, Q 2 3
A mon avis, cette tache doit etre accomplie avant d'aborder le travail de tous les doigts en
fragments de gamme. Seulement ainsi peut-on eviter le risque des positions incorrectes des doigts et
de la main.Je suis absolument convaincu que 1'on ne peut batir une technique solide et impeccable
que sur la base d'une parfaite position statique des deux mains et de la non moins parfaite articula-
tion des doigts dans toutes les positions tout en etant conscient de la relation entre la main droite,
l' arch et et les cordes.
Ces etudes vont atteindre leur but uniquement si le professeur, des le debut, tient compte de ces
objectifs. Il devrait soigneusement corriger les mauvaises positions des doigts, entre eux, sur les
cordes et sur la touche. Il doit aussi surveiller les positions de l'epaule, du coude et du poignet. Il est
donc plus facile et beaucoup plus efficace d'etablir une bonne position de la main dans la position du
pouce, des le debut, que d'avoir a la corriger apres des annees d'utilisation incorrecte.
Toutes les etudes de ce cahier sont ecrites dans la position d'octave, le pouce place au milieu de la
corde. Comme il n'y a pas de demanches, ces etudes devront egalement etre transposees plus haut et
plus bas ou jouees dans la meme position mais sur les cordes voisines. Pour favoriser un meilleur
contr6le de la main droite, je suggere de travailler avec differentes coups d'archet, particulierement
les etudes precedees de ce signe .~.. Toutes ces etudes doivent etre jouees d'abord lentement avec
une sonorite plaine, puis plus vite, en faisant la distinction entre les passages techniques et les autres
de caractere expressif qui doivent utiliser le vibrato et etre phrases.

RudolfMatz
 EXPLANATION EXPLICATION
OF SIGNS DES SIGNES

o - open string I - first string (A) 1""1 - down bow

corde Et vide premiere corde (La) tirez
1 - first finger Il - second string (D) V - up bow
premier doigt deuxieme corde (Re) poussez
2 - second finger III - third string (G) arco - with the bow
deuxieme doigt troisieme corde (Sol) avec l'archet
3 - third finger IV - fourth string (C) pizz. - pizzicato with the right
troisieme doigt quatrieme corde (Do) hand
pizzicato de la main
4 - fourth finger droite
quatrieme doigt
pizz.+ - pizzicato with the left
? - thumb hand
pouce pizzicato de la maIn
gauche

To be played at the frog. To be played with the lower half of the bow.
Jouer au talon. Jouer avec la moitie de l'archet au talon.

To be played in the middle of the bow. I To be played with the fourth of the bow in the middle.
4 I-
1.
Jouer au milieu de l'archet. Jouer avec un quart de l'archet au milieu.

To be played at the tip of the bow. To be played with the eighth of the bow at the tip.
Jouer Et la pointe de l'archet. Jouer avec une huitieme de l'archet Et la pointe.

1 To be played with the whole bow.

T Jouer avec tout l'archet.

Asterisk after a fraction (e.g. %*) indicates that the Un asterisque apres une fraction (e.g. %*) indique que
* exercise to which it refers should be played three times: l' exercice doit etre joue trois fois: au talon, au milieu et Et
once at the frog, once in the middle and once at the tip of la pointe de l'archet.
the bow .

• ~ To be practiced with different bowings and in different Travailler avec differents coups d'archet et differents
~ rhythms. rythmes.

rTTl To be practiced on all four strings. Travailler sur les quatres cordes.

~ To be practiced in different positions. Travailler dans differentes positions.

 w To place both fingers (1 and 2) simultaneously
on the string.
~
The first finger should join as soon as possible
the other fingers (2, 3 and 4) already on the
string.
nm The first finger is placed on the first string,
while the other fingers (2 and 3) are placed on
llij the second string.
The finger denoted inside the box remains on
the string till the end of the line.
Open position or raised position: a whole tone
1+2 between the first and the second finger.
The third finger in the open position: a whole
+3 tone between the second and the third finger.
The fourth finger in the open position: a whole
+4 tone between the third and the fourth finger.
Double extension: a minor third between the
1X2 first and the second finger.
To raise the specified finger obliquely and to
drop it on the string one half tone higher.
To raise the specified finger obliquely and to
drop it on the string one half tone lower.
An ascending arrow between two numbers
1/2 indicates that the interval is to be executed by
expanding the distance between two fingers.
A descending arrow between two numbers
1\2 indicates that the interval is to be executed by
contracting the distance between two fingers.
An ascending or a descending line between two
1---2 numbers or two notes indicates a glissando.
I~ I The position of the thumb on the fingerboard.
The activity of the left hand fingers is indicated
in the rectangular and square boxes placed
above the stave.
nI rn
3 I rn
i I
? 0 f ~r r f f t r f If Fr f~r FFr Ier FFr r~r r rIrr r rrr r r 1
Left hand
Main gauche
Right hand
Main droite
Poser simultanement les deux doigts (1 et 2) sur
la corde.
Le premier doigt doit se joindre, des que possi-
ble, aux autres doigts (2, 3 et 4), deja places sur
la corde.
Placer le premier doigt sur la premiere corde
(La) et les autres sur la deuxieme corde (Re).
Le doigt place dans le carre indique le doigt qui
doit rester sur la corde jusqu'a la fin de la ligne.
Extension du premier doigt ou extension du
deuxieme doigt: un ton entre le premier et le
deuxieme doigt.
Extension du troisieme doigt: un ton entre le
troisieme et le quatrieme doigt.
Extension du quatrieme doigt: un ton entre le
troisieme et le quatrieme doigt.
Grande extension. Une tierce mineur entre le
premier et le deuxieme doigt.
Lever le doigt obliquement et puis l'abaisser un
demi ton plus haut.
Lever le doigt obliquement et puis l'abaisser un
demi ton plus bas.
Une fleche montante placee entre deux doigtes
indique que l'intervalle doit etre realise par l'ex-
tension du doigt vers lequel la fleche est
orientee.
Une fleche descendante placee entre deux
doigtes indique que l'intervalle doit etre realise
par la contraction du doigt vers lequella fleche
est orientee.
Une ligne placee entre deux doigtes ou entre
deux notes indique un glissando.
La position de pouce sur la touche.
La position des doigts de la main gauche est
indiquee dans les rectangles et les carres places
au des sus de la portee.
n[Il n!IJ
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 5

12 ETUDES
Introduction to Thumb Position
Introduction a la Position de Pouce
RUDOLFMATZ

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 RUDOLF MATZ: Selected Works
Etudes for Violoncello Technical Studies for Violoncello
54 Etudes "For Young Hands" Double Thirds in Thumb Position
25 Etudes (Lower Positions) Thumb Position Exercises, Vol. 1
30 Etudes (Lower and Higher Positions) Thumb Position Exercises, Vol. 2
12 Etudes, Introduction to the Thumb Position
24 Short Etudes, Violoncello and Piano
Relating Neck Positions to Thumb Position Andante and Rondo
21 Etudes in the Thumb Position Melody and Capriccio
Elegy and Humoresque
Violoncello Solo In Modo Rapsodico
Suite in C Major Suite in G Major
Suite "Lights and Shadows" Little Suite
Tema con Variazioni Sonata da Camera
11 Capriccios Sonata in Modo Antico
Sonatina in C Major
Two Violoncellos Sonatina in G minor
Duet in C Major Sonatina in A minor
21 Duets for Young Cellists Lyrical Sketches
12 Duets for Two Violoncellos Sonata in E minor

Three Violoncellos String Orchestra

"Baroque Concerto" "Young String Players", Seven Pieces
12 Trios for Three Violoncellos Divertimento
Lyrical Sketches (obligato cello solo)
Four Violoncellos
Quartet in D minor Violin and Piano
In the Garden, Five Easy Pieces
Violoncello Ensemble A Spring Day, Seven Short Pieces
Suite in F Major Passacaglia
12 Pieces for Cello Ensemble Song and Dance

Violoncello and Orchestra Violin and Orchestra

Elegy and Humoresque Passacaglia

For complete catalogue write to:

Dominis Music Ltd
Box 11307, Station H
Ottawa
Ontario, Canada K2H 7V1