The exercises in this book are designed to help the student to achieve mastery in position playing.
They should be used in the order given by Sevcik. See footnote, first page, part 2, of the " School of
Violin Technic."
Already at a time when the odd positions were preferred to the even ones Sevcik emphasized the
importance of developing a good technic in the even positions. Since modern violin technic recognises the great importance of smooth position work and avoids audible portamenti even in the cantilena wherever possible, the use of the even positions is important.
Particularly the second position is essential not only for the smooth performance but also for the playing function. The middle position of the hand between the nut and the ribs of the violin is cogent for its balance.
Exercises 1 to 3
These exercises are to be played in the same manner as the corresponding ones in the first position. (Part l, exercises 1, 17 and 15 respectively).
Exercise 4
The shift from the first to the second position has to be executed from the arm while the wrist remains stable. The thumb should reach neither forward nor backward.
Exercise 5
As exercise 4.
Exercise 6
When stretching, strain of the hand muscles will be avoided if fingers stop the string lightly.
Exercise 7
In this important exercise, use is made of the independence of the fingers acquired through the
previous exercise. First detache in the middle of the bow. Tempo: andante, fingers placed lightly. Next, always at the same speed, 4 notes slurred (middle), then 8 notes (whole bow), and then 16 notes(whole bow). There should be no increase in tempo until the several bars of the exercise can be produced with pure intonation, and the shifting of semitone intervals can be fingered effortless and without strain. Only then may the speed be doubled, with fingers gliding closely over the strings. First slur 8 notes, whole bow.
Exercise 8
As exercise 22 in book 1.
Exercise 9
Principle of playing chromatic scales in position: up, once 4th, twice 1st finger; down, once 1st, twice 4th finger.
Exercise 10
First, the double bars are to be played detache; then slurs to quarter bars, half and full bars. Correct
faulty intonation by tracing single tones.
Exercise 11
To be practised as 27, in book 1.
Exercise 12
Double stops, with light finger attack only. As a rule, if intonation of the double stoppings is faulty,
each tone should be played separately to trace which of the two notes was out. At first detache middle, then whole bar slurred.
Exercise 13
To be practised with 4, 8 and 16 notes to a bow.
Exercise 14
First to be practised broken up, in quavers, then in double stoppings, one bar at a time.
The double stoppings detache for two bars, then one bar to a bow. If intonation is faulty, double
stoppings must be broken up and intonation corrected.
As soon as it is satisfactory, the given variant may be practised.
Exercise 15
These exercises are to be played in the same manner as the conesponding ones in the first position. (Part 1, exercises 14, 15 and 16).
