Introducing the Positions for Violin: Volume 2 - Second, Fourth, Sixth and Seventh

59 Pages·1989·13.968 MB·English

by  Harvey S. Whistler

From the RUBANK EDUCATIONAL LIBRARY
RUBANK ELEMENTARY METHODS
A Series of Graded Fundamental Courses for
Individual or Like-Instrument Class Instruction
flUTE {Piccolo} Petersen ED or BBD BASS {Tuba} . Hovey
CLARINET Hovey DRUMS Yoder
BElL LYRA . Whistler
OBOE Hovey
MARIMBA or XYlOPHONE . Peterson
BASSOON. Skornicka
TYMPANI . Whistler
SAXOPHONE Hovey
GUIT AR {Spanish} DePressles
CORNET or TRUMPET Robinson VIOLIN · Potter
FRENCH HORN {Ep Alto-Mellophone} VIOLA. · Ward
Skornicka CELLO. · Ward
TROMBONE or BARITONE Long STRING BASS. · Ward
RUBANK INTERMEDIATE METHODS
A Series of Graded Follow Up Courses for
Individual or Like-Instrument Class Instruction
FLUTE {Piccolo} · Skornicka-Petersen TROMBONE or BARITONE
. . . Skornicka-Boltz
CLARINET . · . Skornicka-Miller
ED or BBD BASS {Tuba}
OBOE Skornkka-Koebner
· . . . . . . Skornicka-Boltz
BASSOON . · Voxman DRUMS . . . . . . . . . Buggert
SAXOPHONE · . . . Skornicka MARIMBA-XYlOPHONE-VIBES . Jolliff
CORNET or TRUMPET . . Skornkka VIOLIN · Potter
FRENCH HORN {ED Alto-Mellophone} VIOLA. · Ward
. . . . . . Skornicka-Erdman CELLO. · Ward
RUBANK ADVANCED METHODS
A Series of Outlined Courses of Studies Designed to Follow
Any of the Various Elementary or Intermediate Method Series
FLUTE, Vol. I · Voxman-Gower CORNET or TRUMPET, Vol. II
· . ... . . Gowe~Voxman
FLUTE, Vol. II · Voxman
FRENCH HORN, Vol. I. Gower-Voxman
CLARINET, Vol. I. · Voxman-Gower
FRENCH HORN, Vol. II. Gower-Voxman
CLARINET, Vol. II · Voxman-Gower
TROMBONE or BARITONE, Vol. I
OBOE, Vol. I · Voxman-Gower
· . . . . .. Gowe~Voxman
OBOE, Vol. II . · Voxman
TROMBONE or BARITONE, Vol. II
BASSOON, Vol. I · Voxman-Gower · .... . . Gowe~Voxman
BASSOON, Vol. II · Voxman
ED or BBD BASS {Tuba}, Vol. I
SAXOPHONE, Vol. I · Voxman-Gower · . . . . . . Gower-Voxman
SAXOPHONE, Vol. II . . . . Voxman ED or BBD BASS {Tuba}, Vol. II
. Gower-Voxman
CORNET or TRUMPET, Vol. I
. . . .. Gower-Voxman DRUMS . . . . . . . . . Whistler
CLASSIFIED CONTENTS
Units The Second Position Pale
1- 3 Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
4- 9 Selected Studies in the Second Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
10-. .. Etude in C (Sitt). . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
11- 12 Key of F Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
13- 14 Key of B il Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
15-. .. Advanced Etude in the Second Position (Rode). . . . . . . . . . . . . . . . . . . . . . . . . 8
16- 31 Shifting from First to Second Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 10
32- . .. Etude in the 1 st, 2nd and 3rd Positions (Sitt) . . . . . . . . . . . . . . . . . . . . . . . . . .. 12
The Fourth Position
33- 42 Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 14
43- 44 Key of F Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 16
45- 46 Key of Bil Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 17
47- 48 Key of G Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 18
49- 50 Key of D Major. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 19
51- 66 Shifting to the Fourth Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 20
67- ... Etude in the Second and Fourth Positions (Schoen). . . . . . . . . . . . . . . . . . . . .. 22
68- ... Shifting Etude Through Five Positions (Blumenstengel). . . . . . . . . . . . . . . . . . .. 23
69- . .. Advanced Shifting Etude Through Five Positions (Sitt). . . . . . . . . . . . . . . . . . .. 24
The Sixth Position
70- 80 Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 26
81- . .. Sixth Position Etude in C (Sitt). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 28
82- . .. Sixth Position Etude in G (Ries) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 30
83- 86 Sevcik Exercises for Shifting the Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 32
87- 94 Scholz Exercises for Shifting the Position. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 33
95- . .. De Beriot Etude Melodique (2nd, 4th and 6th Positions)... . . . . . . . . . . . . .. 34
96- . " Shifting Etude Through Six Positions (Sitt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 36
The Seventh Position
97-107 Preparatory Studies in the Key of C Major. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 38
108-. " Seventh Position Etude in F (Sitt). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 40
109- ... Seventh Position Etude in G (Scholz). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 42
110-125 Shifting in the 3rd, 5th and 7th Positions. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 44
126-... De Beriot Etude Harmonique (3rd, 5th and 7th Positions). . . . . . . . . . . . . . .. 46
127-... Shifting Etude Through Seven Positions (Sitt). . . . . . . . . . . . . . . . . . . . . . . . . . .. 48
128-131 Schradieck Exercises for Shifting the Position (2nd through the 9th Position) . 50
132-140 Arpeggi Through Higher Positions (Hermann). . . . . . . . . . . . . . . . . . . . . . . . .. 51
141-... Henning Allegro de Concert (Duet). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 52
142-... De Beriot Etude Brillante (Through Higher Positions). . . . . . . . . . . . . . . . . . . .. 54
143-... Campagnoli Etude d'Artiste (Solo for the E String). . . . . . . . . . . . . . . . . . . . .. 56
INTRODUCING THE POSITIONS FOR VIOLIN-Vol. II
ee _______- --,
for VIOLIN-Vol. II SECOND, FOURTH, SIXTH
AND SEVENTH POSITIONS
INTRODUCING THE POSITIONS, Volume Two, compositions, as well as in the works of advanced
is a continuation of the course of study started in orchestral literature.
INTRODUCING THE POSITIONS, Volume One.
In the latter work the third and fifth positions The so-called "half position," which some vio
were taken up, and in the present work the sec linists have considered a higher position, is in
ond, fourth, sixth, seventh, and higher positions reality nothing more than a substitute fingering
are introduced. It is true that violinists usually used chiefly to eliminate clumsy fingering in the
employ the third and fifth positions much more first position. It is employed only for a few mea
than any of the other higher positions; yet it also sures at a time in an occasional spot in etudes,
is true that they must become thoroughly ac solos, and concertos, and space is not sufficient
quainted with the second, fourth, sixth, and sev in the present work to take up this substitute
enth positions. There are many passages in both fingering. When encountering passages which
solo and orchestral literature that can be played are simplified by use of this substitute fingering,
to a decided advantage by employing the second, players should have no difficulty in performing
fourth, or sixth positions. An untimely crossing of them; in fact, a study of the passages themselves,
strings often is eliminated by using them, and when actually encountered, will suffice for a
again an undue amount of shifting sometimes is mastery of this so-called position.
avoided. Furthermore, the works of various mod
ern composers require that extensive use be made INTRODUCING THE POSITIONS, Volumes
of these positions. As for the seventh position. it is One and Two, constitute together, an introduc
used chiefly as a continuation of the shifting proc tory school of position playing. In the standard
ess in which the player goes from the first to the etudes of Kayser, Blurnenstengel, Mazas,
third position, and then from the third to the fifth Dont, Kreutzer, Fiorillo, Rode, Leonard,
position. The seventh, and even higher positions Danc1a, De Beriot, Rovelli and Gavinies, there
(eighth, ninth and tenth), are to be found in are afforded many excellent opportunities for
many passages of concertos and other virtuoso further study of the positions.
Harvey S. Whistler, Ph. D.
The Second Position
This position is NOT to be studied until the player has completed all of the
third and fifth position studies presented in "Introducing the Positions:' VoL I.
Preparatory Studies in the Key of C Major
r--, "Half-step; fingers close together
Prepare G String D String
1 ~e J~ 1 J2 J1 pU1S I '\26YI I 03 04 II I1' 02 I3I I 0• II
0
I-
~ AC IS tring I 0 IC ' 0 I EII S0 tring '6 .I 0. ~ II
1 2 3 4 1 2 3 4
III playillg pa:;iti01I:;, dO' nat emplay D'jJell E, A or D :;tl'ing:; IIl1le~'8 fingering i8 80 marked.
Ir;
~ j j
j II: Ig j
2 II
o 1 2 1 2
(9)
~ f r In IE r I F j (IHIj) j Ij J Ij J I; - :11
L---..
ALARD
r--, r----,
(9 ) r rr -1 r r r (13) f ~f f f f
~ F I F I F I If If If I
( t 7) r------. r (21)
f f r----,
~ If If F IF F IF F IF F IF r IF F
(2:') (29)
~ r J I J j IJ j IJ j I j j Ij j I; J I; :11
~
Copyrig.h.t MCM. . XLVI -by Ru.b.a.n k-, 'nc., Chicago,'"
.
2 of 56
Selected Studies in the Second Position
ALARD
De SERIOT
5'I I
PJreipanre n m (~
E:jbw r r r rr
13 JI w J:J:J 3J I; J ; IJ J If Fir! - I
o 1 2 1 2
ALARD
t (li) r"I r rr rr rr (13)
r
~ i r I Fir r Ir J IF; J J iJ :JJ 3I :J J 3J I J :11
I -
De SERIOT
(9) r"I (13)
, ? r
r
r F F IF r r If r r J I; em r Ir r FJ I.J; r Ir FJ J IJ ! - :lJ
3 of 56
Exercise
HERMANN
JPre pare J (a)
i j J J II: JJ J iJ J3 1E C !'J J JJ JI a3 J J IT IT rJ IF r r r J ~ J ] I
B .,
o 1 2 1 2
(5) (7)
, nHUEflfEUErulcruccrfltUrerUlr
i -
:11
Foundation Study
DANCLA
Jan rr
'I Prepare 11:}a Hf J n lEE (E rr (Ia) C Dr rr er nr1 1r FE r JJ JJ I
9
o
1 2 1
, (5) j; J j JJ J 31 JJ JJ ] 23 J(17 )] 2 3d] J 2J IJ J J Jc J g (19J) ~ ~ JE r ~
(11) (1a)
t
rfrnrrflrffrrHF IrFfrrfrr ICffcc(E rlrErrJJ 3
J
I
(1;;) (17) (19)
, ilJJcrfFl[ccrJJJJIJJJJJJjJljjJdJJJlrCC[CITU
I
(21) cr (2'3U) Jjd
JJj
, rrriCfrflfLrr E:r IJ;JJg JJj) J I
.Q~iJ (25) (:1'7)_ iJpJ11
~ J--JO~ IPJ~.g J] IjJpafr IJ ~J !J 1] J I :/1
4 of 56
Etude in C
SITT
1011Jh; t
Prepare y -I! ~ ~~.fl- ~
II:; vJjJJlrrEFCfrtlf UfttflErECr
I I
o 1 2 1
~) - W
, FErrE 'lcrrr Ef If tfHrtlhftrCCrrlr Eta ft I
2 3
t (13)1"'1 V 1"'1 V
fHqE[rIJ i[HJJJIHJ);, l13fir * I~IJJ' I
1
1"'1 V ......... (17)
, jJ ]J f (tiE Fir tr F I IfF EF [ cE f iE EE F j J] J I Cf Er Ef rF I
3 4
(21)
, rffli[cr r IErE FCrrClfcuJJ] J !JUJU]]] J ID~kEE~1
(25)
r rr
, ~£ Ff rEEf I f FE F[ E I EfE ~r f f £r If FE r 8 J] I
(29) (33) ~~ Terri
, dJJJJjJJIJJJJjHjldJJdcerFlr(EFJJjJ l~iJ:J
a
, tirffPr rCr iJJJi)j fi uri( 37r) r crr
9 I IBn E IflU EH f I
(u) Pi y1"'1 fVF
, ~r DJ H ] Id b] JJ#J J Ic F f I r J I~~ EI Tt f I
I I i
1
V
1"'1 (45)
, !tffC'UrlrfFrrcrrlf£fffFUlrCHrUF
I
(49)
r
¥fFrrJJJjIJJJJJJIjUJJc:rrJlr feErlE :9
i -
5 of 56
Key of F Major
Etude
Also practice (1) slurring each foul" tones, and (2) slurring each complete measure. SCHOLZ
Prepare
JUaB JUJu rf
'~i ~ ~ II: ffrFer FliJ PIE OF FE( r r IJ
I
12
(5)
'~EErrHCrICCUrFFr IEfUHJJIJJJliJJJI
(9) (13)
,~ CE cfCfrrIJJJJfJ#ICErfrfu-IJJJJJJJJ ICEErFEr FI
(17) r
,~ Er rEf r r f I aErf r r rI [ 0 CFc f r FIE f f Fr err I rj 'f 0r r rI
U6 (21)
rr
,~ d H IfiCO[ cF ITI frr rr r I[ cerr mE rI f ErfEr re I
F
(25)
& Lf G r &
r EO J [ E I r r E IrE Or (i'E 1 r [,. Ef I
,~ @' [
n
¥ .. 4 cr (2f1) r cr rr
Ff [ IF 0 r EE E H Or JJ J] jJ JJ 3J j JJ J r t
1 1 I 1 :11
.. Remain in the second position, merely stretching the first finger backward.
6 of 56
Key of Major
B~
Etude
SITT
7 of 56