Op. I PART 3
Exercise 1
To be practised alternately detache and slurred with the upper and lower fingering. When changing position, the thumb glides down slightly, under the neck of the violin, gradually and without jerking as the position becomes higher. No separate movements of the thumb. In practising the inaudible change of position demanded by modern technic, the broken thirds in the second bar should be played with the following fingering:
Exercise 2
For smoothness the shift of a fourth is to be preferred to the shift of the third when playing scales.
The following fingerings are recommended for scales preferring shift of the fourth, without regard to the harmonic progression of G major, or G minor, up to F major or minor. The change of position remains the same up and down, in major or minor. (Vide also Preparatory Scale Studies, Op. 8).
Like any stringed instrument, the violin, basically tuned in pure intervals, requires tempering of pitch to the vibration ratio during play. Intonation should be pressed to the extreme of what is subjectively felt as correct. Such a performance will create a colourful impression of purity and intensity of sound.
The B natural, attuned as a sixth to D, will sound flat when played together with E.
Alternately, the B, played as a lower tone to E in a chord, will sound too sharp for D. It follows that B must be tempered if these tones are to be played following each other or sounding together.
The leading notes require special attention: they should always be played sharp to the extreme upper
limit. Acuity in differentiating pure intonation is soon developed if critically practised. The student
will realise when he has to finger sharp or flat according to tonal requirements. Sevcik often used the intensive study of fourths as an excellent means for training the ear and furthering pure intonation. These should be played in all keys as follows :
The scales should be practised detache, and then in the three variants given by Sevcik.
Exercise 3
The intervals between the positions must be covered by gliding at light finger pressure. The wrist should remain stabilised.
Exercise 4
To be practised as follows:
The triads should first be played slowly. Whole bows and half bows should sound alike. Next, half
and then whole bars to be slurred.
Exercise 5
First to be practised in groups of 5 notes: Then dotted : L1/4 W.B.U1/4
Thereafter the original with the given bowing variants.
Exercise 6
First to be practised in groups of 5 notes, as in the previous exercise. Then with light and elastic finger attack:
Slowly and grouped at first, with whole bow. Then twice as fast, bar by bar, whole bow.
Exercise 7
The triplets to be practised as in No. 4. Then with all possible double stoppings:
Exercise 8
To be practised with light fingers. Special attention to be paid to pure semitones, particularly on the
E string. If the whole bar is slurred, the first note of every group should be lightly stressed.
Exercise 9
Care should be taken neither to let the fingers stretch off nor pull in, so that they always remain above the strings. In high positions, the fingers should not be placed fully on the tip and thus crowded off the fingerboard, but rather the 'smallest possible part of the fingertip should be used.
Exercise 10
To be practised at first slowly detache and piano. Smoothly and slowly glide through changes of position, with full attention to faultless intonation. Stretching of the fingers should be as elastic and yielding as possible.
Exercises 11 and 12
The exercises for change of position and intonation should be practised with supple arm action without partial movement of the thumb, as lightly and elastically as possible. The larger the interval jumps, the more care should be taken to balance the violin easily and to avoid any rigid position of the instrument.
Exercises 13 and 14
These exercises also should be played with true balance of the violin and without jamming. The
jumps in exercise 14 should be executed by the forearm and hand as elastically as possible from the
wrist.
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