1. sports
2. archery

HOW
TO
STUDY
A
HANDBOOK
USE
DAILY
OF
THEIR
THE
THE
LEFT
AND
SOLUTION,
VARIOUS
TEACHERS
STUDENTS
OF
SYSTEMATIC
THE
VIOLIN
VIOLIN
EXPLANATIONS
AND
FOR
OF
AND
CONTAINING
KREUTZER
DIRECTIONS
ACQUIREMENT
BOTH
BOWINGS,
DIFFICULTIES
HAND
OF
AS
TO
THE
FIRM
BOUNDING
AND
BY
BENJAMIN
CUTTER
BOSTON
OLIVER
NEW
C.
H.
CHICAGO
YORK
DrrSON
"
CO.
i
v^
i
COMPANY
DITSON
LYON
0
"
HEALY
IGO
n~
Clfl
COPYBIGHT,
By
HOW
TO
STUDY
KBBUTZEB.
OLIVEB
DITSON
MGMIII,
COMPANr.
PREFACE.
The
make
shall
of
consider;
and
shows
principles
in at
on
the
in
at
costly repetitions, but
facts
learner
the
To
is
a
benefit
in the
definite
the
and
study
what
the
in
to
the
of
privacy
teacher
recollection, and
himself
their
fixing
long struggle through
which
acquired unconsciously.
The
the
is
night
over
until
by
have
the
the
about
its result,
playing
of
much
these
all times
conscious,
inspiring
end
technique
studies
good
more
in
may
and
possession
in
of
of
is
be
drawn
not
study
due
"
rily
necessa-
mechanical
from
carried
are
the
:
is the
be
and
efforts
with
on
a
of
acquirement
solo, quartet, and
result
;
apathy.
probably
that
that
this
a
But, if good may
view, namely
needed
is
noticed
and
anyhow, though
satisfactoryway.
most
the
this
material
account
an
frequently
listless
of
amount
chance
some
teachers
even
and
;
orchestral
of
a
proper
of Kreutzer.
For
to
play
laid
laid
the
technical
playing
And
?
the
how
foundation
playing
that
seen
and
a
at
are
spoken word, they
of
in
fact
This
brings
best
perfunctory,
that
of
from
gained
these
fasten
student, regardlessof his inattention
the
that
fitness
so
referred
realized
taken.
fitness
the
to
be
deft
grow
is not
they have, indeed,
will
and
cusses
dis-
teacher
every
and
technique
passes,
possessed
stock
of
that
case
fingers, apparently,
skill
what
to
memory.
is often
It
the
the
on
student
other, necessitating tedious
refreshing
said
the
which
the
done,
has
which
not
confirmations
study-room,
and
may
the
hand-book
may
as
the
white
and
lesson-room;
out
a
properly, is obliged
Kreutzer
that, unlike
and
ear
present
procedures
study
black
paper
one
to
mechanical
in
put
is
writer
would
if he
to
the
the
clear
Kreutzer,
go
of
purpose
down
by
Kreutzer
down
many
by
mastery of the bowings and
well, with
Kreutzer
subsequent
himself
revisers
"
m
"
"
to
"
"
say
means
nothing
three
gerings
fin-
of those
things:
PREFACE.
IV
First
On
:
all four
skill in
nique, comprising
by thirds, and
in the
ping
smooth
diminished
by fingersheld
Second
bow
A
:
with
studies
knoweth
finger hand
nor
Third
full
A
:
preparing
In
describe
applications of
If
studies.
The
the
arrangement,
the
by
made
revision
Singer,which
Edmund
Kreutzer*
Rudolph
revised
studies
of
work
Kreutzer
by
(The
of
in
*
aim
mechanical
playing
had
the
For
the
Reyision
Joseph
these
received
it is
For
to
in
these
part of
last
here
based
and
the
40, but
Carl
may
and
travailler
de
the
the
1884, and
Mayence,
be
42,
Ueber
Bering's
Etudes
edition
in
of
of
little
a
lea Etudes
Paris, 1897, the successful
problems
of
revision
acknowledge gratefully
Leipzig, 1858,
Working-out
the
on
customary
consulting
VArt
of
followed, is that
de
Kreutzer),
solution
attempted, however,
of
only by
-g q
Aug. 8, 1902.
Boston,
"
arm
violin.
virtuoso.
the
and
these
bow
the
in
that
would
Kross,
Massart,
whose
strong,
writer's
first studies
numbering,
author
Emil
of
cuted
exe-
;
various
is done.
work
Utueden,
Art
the
remembered
surpassing excellence,
Lambert-Joseph
some
8
neither
the
been
in
finger-board
;
registersof
contains, not
found
has
he
aid
doeth
the
author
closing, the
In
studies.
other
Violin,
of
Massart.
Fobty-Two
Edmund
Edited
Singer,
by
Studies
with
Benjamin
.
trouble.
rarely gives any
Kreutzer
the
hardest
the
that
studies
very
the
be
these
principal bowings,
fingers involved
that
seem
all of
"
yet firm and
which
able
was
and
attention, it must
undue
the
it would
stop-
finger extensions,
the
in
has
it
he
hands
the
the
in all the
work
this
explicitlyas
as
the
tone
even
all
stroke
what
by seconds,
crossing the strings,to play
in
independent
an
arpeggios
quietly over
in
stiffness
ready, without
ever
tech-
skill in octaves,
some
flexible,light,and
arm,
habituated
and
well-trained
in
all times
at
down
in little
playing, and
chords, and
seventh
left-hand
good double
strong trill,
even
cadenza
and
up
shifts,readiness
lower
rapid
considerable
very
shiftingboth
by skips,an
four
and
strings,a
of
Additional
Cuttbb,
Bodolphb
Bow
Kbbutzeb.
Variants
Boston,
Oliver
by Emil
Ditson
Edition
Kross
and
Company.
based
Lambert-*
on
HOW
STUDY
TO
PRINCIPLES
GENERAL
The
Fingers.
which
precision
the
the
in
Sometimes
Finger.
finger.
Rule
Unless
shifting finder
We
the
the
act
may
shifting finger
be
its
both
the
by
one
the
sake
of
and
Finger,
the
Playing
shifting
the
following,
the
also
the
in
place
for
down,
or
as
then,
is the
Shifting
shift, up
new
shift
a
is done
act
lay down,
take
must
in
involved
finger
one
playing
:
a
this
;
REMARKS.
used
last
is made
finger
used
first
AND
finger
shift
of
call
; we
finger
the
The
change
a
KREUTZER.
and
"
finger^ the
playing
shift before the playing
new
finger.
The
of
act
shifting
Furthermore
third,
up
called
Scale
Shifts
:
down,
or
Shift
3, 4,
Shifts
Second
more
may
used,
and
The
less
or
be
double
according
Free
The
of
stroke
string
demand
the
Skip
"
four
Skip
Shifts
if
four
playing,
strings
that
the
1
if
of
through
three
the
which
upon.
of
1
the
Freedom
fore-arm
the
1
to
a
so-
2, 4,
1, 2,
finger
;
these
shifting finger
be
be
used.
when
violin,
the
or
shifts
of
5, 6
to
a
intermediate
played
the
using
parts
shifting finger
no
bones
to
of
"
1, 3, 6, 7, 9,
"
Shifts
interval
playing
second,
a
Shifts
strings
planes
scale
directly, by leap,
Guided
Skip
Bow.
to
remote
called
singly, represent
in
or,
"
down
or
up
the
over
shifts
the
over
made
be
may
made
fingers.
two
or
one
ordinary
all
moving
"
board
last
shifts
or,
require
be
may
in
as
"
6, 8;
thus
may
bow
must
planes
and
maintain
played
pass
are
used
uniformity
the
same
;
HOW
2
relative
position,one
whatsoever
the
plane
string with
G
to
means
possiblefor
bow
the
elbow
KREUTZER,
all
travel.
For
down
in the
held
of
bones
which
instance, to
E
have
play
all the
movements
in
on
string position,
und'ily,and to
fore-arm
muscles
wrist
strings and
freedom
cramped
are
perceptibly lessened.
is
pressure
the
the
the
four
on
other,
may
two
in which
one
of
power
the
to
positionin
a
STUDY
the
the
cross
exchange
the
TO
Hence
and
the
lowing,
fol-
"
Rule
:
Raise
change of string^so
that
stringor stringsplayed
An
exception
changes
its
firm
either
of
case
single short
a
such
; at
occur
in
bowings,
and
bouncing
is
No.
2, will
STUDY
iB
Tv^"
,"?
Original Edition,
No.
1 ; Massart,
This
study belongs
No.
to
proper
No.
1.
singing-bow
elements
at
this
of
point
well
Its purpose
of
the
classical
this stroke
in
any
may
Bowings,
the
Ir
in
the
study
give
school
not
ings.
bow-
bounding
student.
--^
No.
26 ;
Schroeder,
6.
along
is to
great
Sostenuto.
]
cadenza
23, the
two
1.
(omitted) ; Kross,
No.
hand
wrist.
fullybefore
No.
tt;"
bow
Fundamental
The
^"Adagio
Minor"
A
the
present, predominating,
ever
this
set
or
ing
neighbor-
a
slurrings, into
the
action
class wrist
Study
a
the
plane of
on
only
of the
movement
a
note
time
a
however, in the bounding bowings.
described
he in the
may
divide, regardless of
classes, the
In
arm
at
upon.
position,involving
Bowings
the shoulder
from
arm
upper
the whole
in the
often
string will
the
lower
or
be
ordinary violin
of
it is in
violin
and
no
playing,
with
The
paratory
pre-
the
best
two
a
way
famous
legato,the
studied
course.
before
"
for
"
a
set
long
and
the
success
essentials
HOW
stroke
in the
a
pressure
are,
"
and
understood
thoroughly
needed,
be
latter
the
be
told
remembered,
depends
pulling
all
at
these
the
exceed
strings must
be
fingersis apt
stroke
down
;
and
do
volume
be
still the
has
a
benefit
in
observe
the
Rule
To
increase
studies
the
given
:
Stengel,
Of
up
under
either
their
As
countless
the
head
numerical
;
the
Original
of
our
through
this
Economize
j
be
the
thin
up
and
will
heightened
in each
the
hand-book
little
meas*
show
soon
command
skill
some
stroke, and
Finally:
next.
standard
which
Schott
in
; the
Forty
'*
the
other
studies,
a
numbering
Forty
;
Peters
discussion
is that
succession
"
by.Kreutzer,
Studies,
is
of
summed
are
mentioned
certain
been
Kistner.
Schroeder,
revisions
with
has
; Blumen-
numerical
Studies
of
numbering
revisions
Edition
Eross,
of
the
tain
con-
differences
hardly
Forty-two
or
puny
four
and
advisable, after
absolutely
original
forty-two
order,
already mentioned,
;
reprints
of
or
not
the
them
in
Hermann,
follow
of studies
this
following
Leduc
three
the
of
Senff
Massart,
must
shifting finger.
the
by
the
stiffeningof
tone
diminish
a
student
three
in
is
on
for, although
;
diminish
a
the
shown
forty
and
bow,
should
It
movement
playing
and
the
pressure
scrafeE.
a
over
It is
swell
and
Edition
first
in
power,
usefulness
the
the
with
and,
of
the
slurs
effort
and
a
to
as
;
in number
much
produce
passages.
use
Litollf
these
and
as
David,
too
getting beyond
the
of the
stroke
one
of
in
purity
gained, to
swell
serious
side
safe
always
possible
ordinary singing
been
the
be
despair
itself in increased
in all
at
a
in the
elements
alone.
Still the
bow.
attempts
beginners
may
ures,
respect, for
the
beginning, whether
not
which
sound
this
may
the
at
of
follow
to
(Ihe tone
means.
the
in
zealous
over
that
of
two
finger
.
practiced
tension
a
pushing
observation
that
times,
and
on
or
of
much
by personal
Bowings
considered
element
will
element
Fundamental
the
and
bow,
the
former
The
been
how
Exactly
must
after
have
3
string through
itself.
easy
counteracts
down.
or
up
be
"
the
which
arm
upper
and
;
2
the
stroke
will
No.
Study
see
KREUTZER,
upon
the
in
fittingslowness
be
STUDY
TO
necessary.
Studies.
in
EOW
TO
STUDY
KREUTZEB.
STUDY
O
Original,No.
this
well
they
as
No.
Massart,
before
AUegro
moderate.
1 ; Kross,
No.
C
Scbroeder,
1 ;
and
major
No.
3.
containing 'few
of intonation.
Scholars
downward
finger board
the
cross
know
to
2 ;
-
Although in
study is difficult
Fingers.
sharp
1
major-
2.
No.
With
beginning practice.
often
play
fact
it is
a
"
dentals,
acci-
the
measures
beginning :
the
keep
with
fingers together
and
hand
whole
the
after
fingersto
finding
the
fit this
first
shifting,that
instant
the
any
shift
finger this
accordingly be
for
that
if studied
may
serve
comprehensive
for this
And
an
attention
sVill which
may
which
not
no
it is well
be
be
as
a
done
secondary
act
the
in
the
other
principlein
in
behind
the
the
tune
the
ing
shift-
fingers must
procedure.
great variety of bowings
revisers,it would
properly, this
study
appear
of itself
acquiring a very respectable and
technique. Experience confirms this amply.
in
be
to this
devote
we
of
divide
places of
shift
down,
or
with
play
to
fingerslag
and
and
hand
place
different
by
medium
reason
had
in
finger up
fundamental
a
; the
large number
exercise
bow
trouble
to
if the
long enough
may
is
made, and
the
out
It
first
the
move
be
taken
the
as
shift
finger.
cannot
this
the
push
not
new
strings. Furthermore,
finger must
is
From
Bow.
invented
; do
the
over
proportion
from
drawn
at
once.
is met
the
with
to
its
these
reallyremarkable
exercise
apparent value.
But
five
For, except
at
attention
this
and
those
in
point
twenty
as
at first between
to
rare
the
the
the
measures
cases
in
intonation,
fingers and
HOW
the
Fundamental
has
to
a
of
variety
is
Man
has
caused
two
kinds
for the
tear.
many
of
other
or
is
a
instance, insist
in
over,
slow
on
prove
the
weight
Let
the
Student
of
and
of
of
ever,
how-
of
automatic
more
or
less
of
Creator.
the
if
perform,
to
on
the
minimum
provision
the
would
reduce
soon
here
also
in other
with
the
with
a
The
words
ness
quick-
hcibU,
a
intensity of
which
resembling it,is
dispute
changing
attentive
practice, well
a
a
matter
fact
the
position of
that
for
discussion.
or
difficulty;and
the
the
act
an
habit, is changed
beyond
with
and
tenacious
emphasize.
somewhat
far
right
and
sensitive
become
thing
of
making
slowness
The
attended
always
matter
a
means
alone,
of
done
act
repeated act,
a
automatic,
habit, closely or
"
tance.
impor-
effort
affair
is called
would
has
that
Any
means
nerves
the
we
beginning.
teachers, the world
to
will
ruin.
becomes
knowledge,
common
wise
individuals, and
automatic,
act
act
man
motor
on
point
act
an
different
in the
act
better
lies the
which
the
other.
Any
new,
of
impulses
Derve
; is the
habitual
acts
physical
impressions
become
he
the wisdom
here
less intense
or
habit
a
the
the
the
one
of the habit, in
formation
cells,
willed
into
out
provision of his Creator
impulse.
is shown
through
the
a
nerve
complicated
to
with
themselves
suffer from
will
are
so-called
more
volitional,or
Herein
the
In
with
It
time
their
experience
attention
practicing, and
wise
in
the
through
tear, while
often
correct
aid
automatic,
distraction,to
varies
and
into
The
and
and
brain
of
of
A
originate
volitional
a
impulses.
wear
For
his
long
a
philosophy
to
is done
becomes
performed
has
acts
play
that
soon
him
for
of habits.
creature
a
first time
nerve
For
the
to
as
all his
will, through
wear
and
of
oft-repeated injunction, practice slowly,
the
nerve
confirmed, and
are
distraction
these
resume
just here.
words
few
A
of
and
fingershave habituated
launches
beginner in Kreutzer
long time,
received
the harm
their habits
from
bowings,
a
to discontinue
his
tune, the
false for
5
habitual, is automatic.
if,before
in
playing
KREUTZER.
and
until
become
that
shown
play
times
has
performance
STUDY
Bowings,
several
bowings
TO
the
that
for
hand,
prolonged,
goes
words.
our
this.
ponder
A
word
to
the
wise
should
be
sufficient.
To
various
serve
our
strokes
Bowings.
From
our
purpose,
of
the
these
bow
all
peculiar
purpose,
arbitrarilyinto
the
manifold
Five
we
divide
the
Fundamental
modifications
which
HOW
6
the
show
derstanding,it
the
save
shall
matter
of touch
First
word
in
in
tr"dn6
all
in
of
French
the
equal parts,
each
down
stroke
mind
the
these
produced,
and
slackening
of
to each
arm
arm,
be
and
a
emits
lack
of movement,
the
when
comes
does
hair
that
the
to
of
will
of
tone
and
no
the
whole
of
the
upper
the
that
elbow
the
tone, the
even
of
and
pressure
whistling
Studied
tone
that
see
Adjusting
excess
or
gauzy
Fix
aim.
tones,
lowering
an
sideration
con-
no
amount
of
change
bite.
not
volume
nine
measures
of
the
full,clear, and
due
tone
or
quality and
in
Play
scratch
is of
stroke, and
stick.*
a
divided
point third, at
be
in
the
stroke
the bow
the
vigorously from
so
Bowing,
Speed
each
the
alone.
foundation
in
raising or
proper
along
of
the
on
string,swinging sidewise,
a
end
during
pressure
bow
that
the
the
diminution
no
break
no
string by
opposite of
This, quite like
should
tone
sign
no
of
Forearm
bow
is
which
Imagine
the
of
volume
there
the
the
draw
draw
beginning
points
The
playing.
and
there
affair of taste
the
misuti-
any
kind
reaching the point itself.
purity and
on
passage.
ma^tters,
passage
three
at
given
a
that
absolutely
Bowing.
into
the
shows
piano playing, is
ordinary
;
right here
say
avoid
To
developed.
which
used
be
to
Fundamental
d6taoh^
used
is necessary
printed
stroke
be
player may
master
KBEUTZEBk
STUDY
TO
which
tone
properly,improvement
become
soon
apparent.
fourteen, especially,
to
g^
attention
giving
in Kreutzer
Hardly anything
*
the
toward
of
As
right
the
to pressure
left is made
the
and
bowhand
hair
where
the
tone
is made
alurred
It should
"
hand.
and
arm
staccato
of
by
the
bow
upper
which
the
upon
the
for
be
the
Quite
forearm
the
crossing
to
rests.
arm,
will repay
remembered
that
in
chord
was
so
this is not
the
the
on
we
are
string
right
in
playing, and,
famous.
a
the
down
fulcrum,
forearm,
where
assiduous
by bearing
as
and
breaks.
any
than
made
thumb
fingers, hand,
point
believe
except
Wieniawski
the
by
that
We
that
better
one
Through
contrary.
stick
toward
strings without
force
asserting
possibly,
twist
expended,
is
that
in
with
leverage
steady
a
"
a
little
that
or
no
stiff-arm
HOW
and
attentive
be
must
of the
made
habit.
a
Once
orchestral,quartet,
importance, nor
it
use
in
solo,
or
bold
their basis
student
is
comparatively
playing,
passage
should
his efforts
relax
It
such, the performance
brilliant
the
"
vigorous bowing.
as
as
all
7
and
confirmed
leading factor
a
KREUTZER,
this
slurringswhich
As
its
STUDY
practice of
many
easy.
TO
"
mate
underesti-
not
greater and
toward
ever
greater mastery.
Fandamental
Second
stroke,
the
bow
full
bow
with
such
of each
the
Let
should
without
this
student
apply
moving
the
chin
with
enough
stroke
his
point
of stroke
will
may
attention
also
be
before
which
played
the
is
hair
the
let him
and
without
strikes
the
of the
or
the
through
the
pressure
starting of
much
pressure
the
to
attack, this indispensable
This
the
appreciably
very
grande
attack, the
touches
attack
place that,
while
loosely mean-
relax
will lessen
an
first
violin
how
strokes.
other
infrequent,the
the
ing
start-
end
his violin
under
make
soon
the
then
tell him
technique, a habit,
learning certain
the
with
on
begin
grip
must
at each
shake
vibrate
soon
will
should
begins
in
may
holding
string to
and
pauses,
bow
made
and
arm
bow
d6tach6
starting
string
form
a
"
is often
swerves,
be
laid
noticed
or
the
to
although opinions
an
vary
that
about
becomes
wrist
to
the
middle
stiff.
of
holding of
the
stroke
of the
This, in
bending
exaggerated
as
the
the
wrist
the
cases,
many
wrist.
"
/^
regarded
being commonly
indispensable element.
an
It
may
of
of
the matter
in the air
the
he
and
"
be
the
stroke
the
pressure
"
long enough
sharp, peculiarlybiting,sound.
a
arm,
hand
this
must
"
string
judgment
Rigid
employ.
bowing
and
allow
to
;
the
on
pressure
bow
Each
do
much
so
during
with
note
both
carrying
full vibration
audible
be
still
attack
This
each
Play
on
tone.
To
that
extent
an
stroke.
and
bow,
full
and
clean-cut
a
bow
the
Whole-Arm
quick
stroke, pausing
mind
to fix the
holding
The
French.
of
speed
attack, so-called.
an
string to
bow
strokes
the
of
utmost
properly, on
producing
as
the
the
between
d6taoh6
grande
at
Bowing.
For,
just how
TO
HOW
8
high
low
or
breaking
and
butt
the
at
best
them
lengthen
players
hand
in
straight line
a
strokes
the
Lengthen
in
is the
of
to
point.
trouble,
stick
has
the top of the
position,be
the
demands
be
the
and
normal
end
the
of
wrist
the
at
there
middle
forearm
the
each
until
somewhat
bending
with
which
;
letter V
a
the
the
hump
not
point third, if
graduallyuntU
passed, startingalways
do
it to
depress
nor
been
wrist
KREUTZER.
strokes, then, at the
the
Begin
still the
"
STUDY
bow
reached, the
be
of the
it said.
the
positionsat
ends.
\l
The
of
element
tension
proper
and
adding,
the
Begin
at the
If the
wrist
without
play
of
of
stroke
the
Although
many
never
which
so
be
possible,the
as
be loud.
played
acquired
with
and
tone
stroke
case
things
ease
to
"
in
and
many
their
good
and
tough,
its endurance.
to
the
immovable
the
movement
Go
arm.
a
Bowingr.
the wrist
"
any
upright, until
slowly
be
until
fingers
a
"
effect
bones
of hair.
farther
of the
along
in
students
great
violin
surety in
the
this
playing depend,
a
slow
it
the
effort
When
until
tempo.
it
be
must
string.
difficult,and
"
is
staccato.
a
wrist.
forearm
as
loss
little
Make
the stick
changing
fairly
play
no
peculiar stroke, with
the
a
made
very
legato,not
a
should
may
half inch
alone.
arm
bad, although
acting only
regarded by
many
the
is not
This
arm
excess
quick, free, and
Hand
But, in doing all this, the
whole
An
much
from
fairly firm
legato,loosens
anywhere.
immovable,
the
one
loose, repeat the
are
is easy
use
may
or
and
hand
the
in
constant
a
frame,
possible with
will not
to make
is often
yield
be
The
strokes, movement
door
made.
of this sti*oke be formed.
Bowing.
wrist
bow
the
tone
these
the
be
light,ready,
arm
Without
forgotten.
Bowing,
habit
which
"
the
is
sustained
The
the
participationof
stroke
better ; the
as
stiff
be
be
should
movement
the
butt, short
any
ample
cannot
make
until
against
bones
the
start
Fundamental
Third
held
not
Fundamental
First
Persevere
be
The
practice will
like
should
clean
quick,
a
harmful.
is,however,
sure;
tension
by
stroke,
may
on
soon
However,
the
even
case
most
by beginning
then, the
movement
the
stick, piking the
until
the
place
pains
the
while
one,
and
and
with
still forearm
motion
genuine
the
wrist
make
must
be
pure
motion;
the
the
formed
big
changes
approximating
valuable
It is
better
to
of
Wait
enduring,
and
ready
each
four
times, then
Driven
at
stroke, and
'the
bow
fast
about
bounces
the
called.
In
the
a
at
bowing,
being
is
flat
side
lateral
a
on
to
bow, if
hands
side, the
and
the
would
one
finger
the fore-
that
to
a
the
angle
right angle.
pure
lateral
undei-stand.
Where
the
of
axis
its first crease,
on
near
table
a
ment
move-
the
string,E string for
front, describes
the
clinging to
quent
Subse-
string.
develop
to
figure
a
this
liar
pecu-
to
and
quite
the
respond
three
has
of
times, then
two
the
in
with
flexible
become
change
any
fast
of studies
number
a
wrist
to
stroke
this
play
and
string. Play
times, and
at
last
written.
singly,as
^
here
the
technique.
until
tempo.
note
to
hair
attempt
it in slow
to
be
bowing,
from
time
some
stick
tight, taking
most
ample opportunity
feature
wise
never
beginning ;
offer
will
the
down^
the
playing,the
high,
;
work
position of
from
string,E string,A
the
ellipse,
an
hand
but
easy
hand, viewed
the
studies
A
"
and
low
this
is
action
second, but
its
not
stringswith
constant
are
"
and
be
the
that with
on
modified, which
is
instance
not
forefingerand
changing
In
bow,
is
stick of the
means
than
relative
In actual
the
be
is easy
gradually
wrist
hand
produced.
this
knuckle
the
by
the
parallelto
the
touches
that
moving
be
may
that
forearm
stroke
shorter
the
the
by laying
the
player may
same
in mind
Bear
that
the
maintain
arm.
where
where
; in which
unyielding,may
most
strokes
up
reached
to
butt
started, the
along
9
parts of the bow
wrist, one
the
at
once
be
KREUTZER,
in certain
perverse
loosened
parts of the
"
had
is sometimes
trouble
STUDY
TO
HOW
with
lightened
one
third
of the
naturally
French
this,both
more
rate
SautiUe,
hand
and
gives
pressure
bow
length
the
the Bounoing
and
important, since
bow
a
play
skillful
shortened
from
the
well-known
or
a
and
butt,
Spicoato
Springing
bow,
so
part, that of the hand
player with
a
poor
bow
^
10
HOW
TO
KREUTZiR.
STUDY
.
.
,
this stroke
can
produce
the
point,where
used
unless
in
the
This
all ; indeed
uncle
from
way,
It is
is
has
of
the
to
naturally
the so-called
which
we
; let
him
and
"
Let
him
will also see,
by
studies
how
on,
to
the
thrown
.6r6lythe
without
will
the
great
Not
to
in France
general
is
a
while
hand
be
the
name,
uuuva.
terms,
two
the
sautiUi
of
and
arm,
and
^
With
this
only
differs
\
.\'
free
made
wrist
is
necessity
"
the
not
limited
also
yi."-
the
a
of, if
^
c
we
the
,touch
-^'V
Kreutzer
bear
for the
it
as
the
the
in
or,
*"
saucer-
*\ h
V
"-ti*.
aM^ecigii^
the
same
.
spiccato
rapid, ofall bowings,
most
on
c
to
say,
in speed, but
in the
hand,
i^iccato bow,
spiccato,seem
stroke
^
I'p**^'^v-
the
a
he
;
master
[ p.c
mistaken,
to be
one
not
and
saltato
; not
and
saJtatoHfi
half
-
y.-
for'^hesaubHU^
mistaken
stroke
hand
\
.
with
stroke
Saitato,
Saltato,
N'l-
hand.
cases, ;, whoUy
vtu.v7jj.j
rapid
alone, and
The
The
the
bounce.
r61e thisTiand
a
Bowing.
i5owing.
will find
and
foreai'm
of
moves
the
soft
see
the hand
stroke,,halfarm,
11116 niod6r"
the
underestimate
not
that
he
"
fimaameniai
JPu^damental
is
Third
the
day
all the
Fourth "in
in
catch
"
wrist
complicated slurrings the revisers
and
he will probably be willingto
employed
of the indispensables.
in
son
rea-
stroke
learn
fine
one
permitted by
not
ease
he
as
off
thrown
hand
try
until
players,he
just
no
it,2making
changes
let him
bowing,
first-rate
passages
an
But
hand
pure
and
"
by
envy
speak, comes,
the
to
tarry with
persevere
with
see
student
mastered
never
regarded
can
catch.
strokeaJ
will observe
lightnessand
and
for the
use
is often
writer
stroke
trick
let him
two
non-staccato
no
no
the
value
plays
and
usually taught, always
closely clinging pressure,
a
automatically;
that he
The
hand
the
Bowing
with
string
tain
middle
the arm,
to be
spiccato stroke, of
This
Fun3amental
one
the
easily and
with
and
is wont
unsuccessful.
and
trick."]There
have
stroke
for its mastery,
time
readilylearned.
If he
bound
not
spiccato,as
its possessor
ver
natural
high
this
springing bow,
for this.
a
will
flyingstaccato
a
requires a long
the
bow
between
volant.
staccato
at
half way
even
may
combine
both
string.
\
,
and
play
the
suppldoy
whole
the hand
study
with
bowing
up
"
strokes,
1
TO
HOW
alonei'atabout
hand
SO
still; repeat with
stroke,;
arm
strokes,
the middle
of the bow,
the butt, lifting
the
toward
still.
arm
and may
stringjr
the'short
/iThese
be awkward
11
KREUTZEB.
STUDY
from
bow
thrown
and
a
oi
the down
strokes,sounding down
silent up
are
stringfor
the
inch
better,an
or
strokes, blows
little wild at
on
the
because
first//and,
what
are
always dry and somestring,
They should be as long as the side play
cuttingin tone.
mastered
When
of the wrist will allow. ))
singly,combine up and
the silent strokes.
Do not hesitate at the whipdown, without
ping
able.
of the string,
at the poor tone ; these are at firstunavoidor
While
stroke,which
arm
learningthis factor,the following
be studied :
with
is also a factor in the complete stroke,may
of
of hair
touch
the
on
"
bow
middle
in the
of
play
down,
string.
X/ raise
and
forearm
two
say
and
or
When
wrist, make
forearm
from
rather
than
and
hand
both
and
still more
first made
by
bow
in
extent,
the hand
be
now
them
more
alone, has
stroke
hand
almost
much
for
considerable
with
the
or
speed;
be
shorten
at
any
touch
and
for absolute
to say
indicative
at this
at
any
of marks
rate
of
tiie
will^
of the
expert will play this
preponderanceof
made
very
staccato
freedom
of arm,
upper
sign.
out
point,that these bowings are used withthe
already mentioned,
judgment, the
As
taste,of the player is called upon.
devoid
tained
sus-
which, though
the union
lower.
It is well
free,
the
or
beginner must not expect, however, too
wholly a matter of growth ; he should strive
this is
lightnessof
is
the
The
legato.
./
a
the
rapidity; by
stroke,it may
arm
act
become
.
bowing
on
and
little the
less staccato
or
now
to
easy
elements, the Saltato Bowing itself./ An
two
the wrist
a
in the
participating
now
hair
shortening
effect^nd
to make
of free
stroke,producinga
each
It will
x.
holdingthe
easilyand
travels
staccato
a
allow
to
light legato strokes, up
stringafter
the
former, length of stroke,
strokes
brought forward
three inches
the
the bow
elbow
of any
speed
kind, may
from
Thus
be
Adagio
:
played
to
with
Presto,
or
the
hand
with
the
bowing
saltato
and
!
12
HOW
TO
STUDY
^
KREUTZER.
i
stroke from
a
spiccato stroke
a
only
Modifications
rate.
; and
spiccato
slow
reasonably
-
-
and
best
by
"
"
to
up
"
or
moderate
a
easily at
most
t
t
f
rapid
a
hand
'
Allegro, but
or
stroke,
as
saltato
or
\
rapid
very
either
mean
may
th'9 pure
mean
may
-
rate
or
clinging
a
saltato.
Fifth
first
The
stroke
which
bow
and
the
shorter
student
the
command,
and
the
stroke
the
firm
a
clean
more
with
the
pointof
extreme
the wrist
until
It will take
loose.
arm,
and
improve
the
it will
the
down.
with
whole
and
or
up
bouncing
down
strokes
articulated
or
bowj^and,
depend
stick, as
governed by
;
in
on,
for their
is often
the
firm
the
grip on
not
of
one
.
should
the
first
at
wrist.
At
the
especially,
time,
same
beginner's
practice,usually,to
an
of
mastery
easy
both
from
movement
be
and
up
the wrist,
quickly,two,
in all
parts of the
liftingthe
make
to
easy
learned,
staccato
it,by
two
Staccato,
foundation
and
not
supposed, but
from
bow
or
the
near
on
the
middle
spring
wrist.
firmly
gained
the unaided
the
the
of
the
the
strokes, all of
Arpeggio
on
from
more
be
direction, may
same
Ricochet
movements
staccato, the
more
Staccato,
now
may
Slurred
the
be
of
and, take notice, a sufficiency
and, from
the
the
on
will
to tire the
to fit it for
slurred
become
bounding
later
stroke
which
at
weeks'
Slurred
"
in
the
be studied
bowing
few
a
rests
pressure
notes
it has
string when
the
thing
more,
or
but
valuable
this
I^yFrom
three, four,
which
and
of
sufficiency
endurance
bow
also
point of
speed
enduring,and
string
at any
movement,
should
little of this
the
on
at
more
than
hand
elements
stretching the
and
surprisingly,
arm
The
a
take
prized
much
but
a
rather
strong and
is
the
the
two
tone,
hand
this stroke
the bow
them
and
for, toughening, and
striven
hair
these
clean-cut
be
however,
string.
the. arm.
Amplitude of stroke
be
the
the
strokes.
Bowing,
With
hand
staccato,
martele
cut, that is the
It must,
the
the
grip of
combine
may
produce
may
of
Attack.
the
Hand
Fundamental
that
requisiteis
The
and
Third
the
called
have
we
shorter
staccato
requisiteis
the other
;
Bowing.
slurred
the
of
basis
his
Fundamental
It
spring
of
the
of
stick
is, however,
:'
HOW
14
follow
the
octaves.
subsidy
dictate
may
from
the
has
one
only
Finally,as
our
of
of
a
in
of
and
often shown
and
his
the
violin.
badly
nine
is not
tones
of nine
note
the
of
fingersbegin, as
their
in
as
have
class
his
vided
Prothem
of
they
the
Example
bow
No.
the
the
the
"
ear.
pering
tem-
This
schooling,his
and
settled, takes
been
takes
many
and
known
on
Cut
up
as
violin.
The
the
exercise
into
a
variant
its motion
up
ear
do
to
is
the
1, or into
No.
are
that
relationships.
pitch.
Example
too
by
pass
is
attention
extent
an
It
"
effort
of
powers
first scale
of
adjustment
in which
in
not,
of
and
playing
as
established
this
plays
notes,
group
do
necessary.
time
such
to
caught
adjustingof
who
boy
the
pianist of experience
a
Students
lies in
We
of the violin
greatest difficulty
tones, the
the
trouble
groups
dissipated
judgment apparently
as
*
the
when
In
experience, perhaps
skill,many
the
dissipated by
;
lies the
of the
not
country.
for.
by experience, that
are
measures
herein
Just
of
it does
this
bowings
play fast, because
to
observation
relationship of
of
amount
in
position to
a
But
called
all these
certain
in
Working-Up-to-Time, acquiring speed :
to
attempts
consecutive
school
extended
be
may
versions
Conservatoire, where
severe.
an
staccato,
reading.
impression, confirmed
wasted
Paris
conditions
of
slurred
finallytwo
places the
number
acquired
matter
a
the
course
study
of
parts, and
and
wants
this
the
and
study, however
in the
of
then, consider
slurs
for
well
of
to the
fourth
a
of
government
playing, and
actual
are
do
course
adapted
seem
KREUTZER.
in different
bow
This
any
STUDY
varieties
twenty-nine
employing
a
TO
of the
before
the
2.
2.
1.
^
^~-rTr-^^m^rn
The
tempo
brevity of
to the
of
until
pitch of
all the
a
such
high
tones
rate
a
each
tone, and
; after
of
close
allows
group
which
speed
is
to
the
the
a
adjustment,the
group
gained.
in
attention
But
may
the
be
slow
pering,
tem-
ated
acceler-
powers
of
criticism
treated
been
have
three,
bow
beforehand
study
to
the
the
same
as
in
reiterated
way
begin
;
out
two,
tune, put
attention
strainingthe
whole
the
through
; go
play habituallyin
to
groups
speed, starting the
of
and
this
in
goes
rate
note
Follow
pitch.
each
increased
the
the
on
and
several
After
flag.
to
this way
in
together at
then
keenly
allowed
be
not
may
16
KREUTZER.
STUDY
TO
HOW
in
tune
a
fast
tempo.
STUDY
^
C major"
A
Fingers.
The
figures.*
eight
in
also the
first
10.
before
the
10, and
measure
Rule
seizes
finger,4,
its
this
lined
point
^,| must
note, c'"
own
string,and
the
learning this
*
group
A
g^ a, h; then
and
four
lined
sake
and
motive
of
the
octaves
one
"c"
0.
the
The
lined
to
6",
act
the
touch
in
more
or
less
place
a" before
is
the
repeated
the
hand
of
the
in
playing
until
the
uring
meas-
shiftingfinger on
from
the
excellent
procedure, is
regular,
in
shiftingfinger,2,
An
fundamental
first
application here
the
violin.
its
shiftingupward
of
of
away
the
ing
ris-
any
group
divided
into
of
finger
of
means
as
follows
notes.
Such
:
a
figure,
or
accuracy,
a
This
.
of the
comer
traiiBpoBition,
a
begins with
follow
by
to
hand
drawing
necessary
is called
the
octave
the
the
is the
sequence
of notes
t For
Each
by
around
tips and
taken
distance
move
begins a
shiftingfinger bee
The
on.
the
descending figureis reached,
the
the
finds
seconds
quitting
shiftingfingertakes
"
two
and
Unless
:
4
measure
seconds
by
playing finger
from
plays the
which
The
playing finger,the
shift
different
fallingby
notes,
In
easy.
figure,moving
measure
four
of
figure,one
4.
No.
5 ; Schroeder,
No.
2 ; Kross,
repetitions,is
note
^
exercise, containing three
sequence
twelve
through
No.
3. ; Massart,
Original, No.
new
moderato.
"Allegro
^UjJUi
^
shift
3.
No.
total
lowest
scale
has
tones
of
octav^,c^to l/^ and,
etc.
been
the
violin
in natural
belong
to
consequence,
so-called.
octaves,
the
small
the
octave^
two, three,
16
HOW
the
shift note
the
omit
higher, then
hand
assume
imaginary
line
it easy
r
When
be
t-
mastered,
the
when
the
the
the
allow
to
of
the
of
the
to
accurately on
to
finger tips to
an
finger board,
the
preserve
this
is assumed
extended
be
possiblewith
the
the
shift
roots
fingerboard, and
mentioned
thumb
comer
the
necessary
stringswhen
the
sharply, become
bent
being
is
the
season
the
of
centre
it
up
allow
on
pressure
in
fingercleanly and
position just
to
back
large knuckles,
fourth
climbs
one
as
finger; but, if
drawn
the
shiftingno
keep
nearly parallel as
as
the
In
to
easilyaround
four
down
place
to
here.
customary
second
or
the
drawn
position seems
from
it is
should
line
a
of tone
done
r
emphasized
string. Furthermore,
volume
this
thumb
by causing
to
fingers,
be
be
swing naturally and
to
A
.r
"
*
appoggiatura.
an
shift
first
the
the
Tiolin, and,
the
fourth
the
opposite
make
as
also
things must
higher than
the
used
being
KREUTZER.
appoggiatura.
Two
about
STUDY
r^ff
r
fr
m
TO
best
can
; for
maintain
only
diminished
un-
an
fingersthemselves
and
lose
their
sharp
angles.
the
In
difficulty. Hold
the
13, 14, 15, instead
the
preserve
by
the
falling sequQ^ce,
of
first
fingerfirm
using
the
by taking
sequence
It is often
beneficial
themselves
with
the
to
four
play
in
shifting. In
first shift
fourth
the
the
figure presents
note
and
the
thus
measures
string,
open
shift.
falling shift
rising and
shiftingfingers;
less
notes
:
m
^
This
seems
sense
and
would
for the
lay
to
to
impress
make
stress
fingersas
the
their
on
was
the
measurements,
performance
fact
its
that
this
more
the
spacings, on
sure.
study is
about
predecessor for the bow.
In
as
the
closing we
important
Master
it.
HOW
done
Anything
Bow.
remembered
be
should
STUDY
TO
that
finger difficulties
and
the
the
bow, the bow
KREUTZER.
in
No.
2
as
this
is
done
than
those
of
4.
(no time
"
it
be moderate.
No.
-|
here, but
essentiallya fingerstudy
should
STUDY
"
be
may
considerably greater
are
requirements
C major
17
sigrn griven).
i^ E
4 ; Massart,
Original, No.
Aside
from
do.
nothing to
begun
too
attribute
of
to
and
the
at
does
the
clearlyfrom
of
importance
favorable
favorable),the
studies
the
and
a
is
of
power
the
it has
soon,
will
with
goes
attack
the
whole
main
the
pieces
before
and
Fifth
been
tered,
mas-
without
a
simple
when
sessed
pos-
staccato
notes
thing.
Hence
Furthermore,
emphasize
and
oma-c;:-
many
stroke
mentioned.
played
inherent
thing lies
articulate
may
an
cost
it,has
this
(we would
of
number
to
just
have
generally
we
If, however,
wrist, is the
bowing
almost
as
although special aptitude
circumstances
student
study
justlyprized
toil.
may
bottom
still the
help,
strongly and
too
all that
one
This
is
2.
fingers have
preparation,which
stroke
unavailing
with
No.
specialbowing, a desire
studied
procedure,and
mechanical
other
the
But
of
For
this
Schroeder,
the
work.
proper
is clear, and
loss of time.
under
for
Bowing,
way
the
to learn
great value.
hours
has
without
players;
Fundamental
the
bow
desire
a
long
many
The
soon
in all violin
ment
or
3 ;
No.
extensions,
two
one
3 ; Kross,
No.
the
learned
mastering
a
the
word,
dozen
cato
stac-
stroke.
Those
down
turned
easy;
who
find the
which
toward
the
they
up
staccato
may
face, then
learn
held
stroke
by
first
often
difficxilt,
playing with
straightover
the
find the
the
stick
string,then
HOW
18
position,turned
in the normal
of the bow,
as
the
Then
as
possible; indeed,
an
immovable
after each
stroke
in the
often
Very
one.
The
long
accented
the
note
first note
and
in each
"
become
fingers soon
^^atural and
excellent
to be
seems
the
time
with
playing with
has
is
makes
cases
is
by
this
great
a
means
been
practiced.
each
plenty
No.
-^
"
well
hand
slur should
of bow
be
likewise,
;
6.
Allegro
4; Kross,
stretched
out
position.
the
appears
dis-
the
moderato.
No.
2; Schroedor, No.
played perseveringly, without
point of
the hand
by
provided
"
of
end
of
back
many
6, 11, 13, 19, 21, contain
measures
The
measure.
5; Massart, No.
When
Fingers.
strings
flat major"
parts
difficulty
the recoil
in
gain
the
STUDY
Original, No
that
Bowing,
at
all
stroke.
up
is that
is carried
short
a
Fundamental
accented
B
try the
hand, naturally stubborn,
in
Use
free from
as
exercise
slightsound
played scrupulously in time,
the
are
face.
words, restrained,as much
the bow
stroke, and
trick
the Fifth
stacoato,
point
excellent
while
a
whole
the
taught
the
things,and
; the
real
from
back, in other
an
forearm
up
and
reverse
held
be
must
KREUTZER.
away
middle
until the
butt.
forearm
STUDY
TO
the
over
Aside
study.
from
Drive
1.
the
exceptions
finger board
a
to
drill in
a
open
the
"
in
a
flats,this
rapid tempo
"
eventually.
A
Bow.
We
great variety of strokes is both
would
17, 18, 19, 20, of6.
^^
recommend
our
revised
as
possible and
specialstrokes, Nos.
edition
9.
(Oliver Ditson
able.
valu-
5, 9, 10, 12,
Company).
HOW
/
TO
STUDY
19
KREUTZEB.
f
/
19.
f
20.
Spiccato, saltato.
Grand
d^tacM.
rg; ^
Nos.
5, 10, and
12
volan^
staccato
be
may
played
bow
the
being
leaving the stringpartly by
of
the
the
better
laid
on
No.
6 has
to first
bowings
Nos.
17
been
and
of
the
firm
practice.
No.
e.
-r
"
measure
staccato, will be
great
stress
taken
up
cannot
after
6 ;
17
Massart,
begins
a
No.
6 ; Kross,
No.
6 ;
Schroeder,
No.
passing through
sequence,
i
iB
E
Meas.
17.
be
Study
f
1,3,4:
i
tion
deriva-
J-
?
Original, No.
In
stroke, a
and
Moderato.
3
J-
hand
its middle
mastered.
C major"
^
hand
Too
be
the
flying staccato^
about
or
should
STUDY
iw E
at
the
18, which
the
used
means
saltato ; these, with
with
rM
E
rtffe^^J^
7.
the
shifts
HOW
20
In
TO
19
measjure
STUDY
beginners
highest note, forgettingthat
and
high E,
e^' down
in
d"
to
Very
is often
"
helpful
picture of
mental
finger. Namely
(/^\e"\^"\
members,
:
in
They
fingers,as
Meas.
the
three
the
E
half
scales
"
is
clear
a
the
first
5", d'",/''';measure
These
in
passage
the
tone.
the
are
consecutive
Study
is
a
scale
with
No.
25,
successive
(a triad
triads
profitably,alone,
a
the
second
string stopped by
rising and
very
with
a
for
above
major
a
octave
fifth,of three
three
second
only
23, the thirds
on
played
29
measure
shift of
far
too
minor
a
a'".
27, d"',/''',
done
was
on
measure
root, third, and
may
In
tones
measure
be
only
exaggerated by
playing
the
chord) formed
tone
the
reach
to
apt
are
it is
20
measure
KREUTZER.
the
three
steps.
shifting
3.
:
29.
8va
a
free
well
skip
under
shift is made
while
the
the
Learn
to
stopping
fingers.
the
of
strings
e\ e"\ the
neck
opposite
the
outside
The
octave
the
violin.
the
in
taking
thumb,
"
is
place the
without
fingers,1
thumb
E
open
and
Hold
played.
hand
in
touching
4, should
out
positionwith-
them
be
with
the
place
for
in
fallingverticallyagainst
the
shift,and
thus
acting
the
as
a
first
guide
elbow
the
finger being
to
the
hand.
butt
about
It
HOW
22
TO
Grand
g
STUDY
KREUTZER.
(UtacfU,
X
I
-=t
Spiccato or
^
saltcUo.
__:,-
"J^ 1^
"
"
"
"
"
n
i^^P
1-h
STUDY
^
major"
D
7.
No.
"Allegro
assai.
If
it
mi
the
as
much
as
and
gives
which
but
studies.
possible;
which
once
fourth
need
specialcare.
As
It
bow,
the
reversed.
string
The
good shape
done
will well
a
is
low
notes
with
bow
to
a
down.
perhaps
stroke.
not
is
the
No.
great
of
that
as
be held
down
fingerboard
all done
not
6.
study, principally
the
over
at
for all his
once,
pains.
35, 36, 37, 38, will
one
of
high
Profit
the
finest
notes
with
may
point ; place
extreme
starting the
fairiyimmovable,
them
measures
this
play
to
customary
Draw
before
study
martele
bow
as
the student
repay
in
a
almost
matter
a
"
Schroeder,
fingers should
stretches
a
7 ;
regarded as
fingersis
finger extensions
The
Bow.
for the
Kreutzer
them
Kross, No.
6 ;
has been
study
its value
; but
No.
Massart,
This
Fingers.
of
7 ;
^
f
f
Original, No.
any
3
E
The
altogetherso
upper
; and
be
it
had
in existence.
an
if this
cleanly on
arm
must
should
assume,
up
be
the
be
if
we
so
may
for
"
The
the
the
of
plane
the
higher
of
rate
and
Use
speed.
Also,
ending.
beginning
hand
throughout. For vigor
all brilliant playing. To
keenest
as
the
watching
first
the
of the
bowing,
tone
the
with
;
vigorous,
forearm
enters
piuctice and
Massart
required.
sion
ten-
shorter
stroke
very
and
gain this, slow
are
of
the
recommends
martelS, and
lastly
saltato,
B
8 ; Massart,
the
over
fingerboard.
and
some
extensions
the
main
thing
drive
may
the
and
however,
thing
first
of
a
a
soon,
and
time
its real
of
keeping
is
the
the
"
fourth
will
of
rate
be
hand
sharp key,
But
finger.
then
one
fingerswhere
the
in
apparent.
speed, and
as
half learned
enjoyed by
never
10.
the
correct;
improvement
respect,never
good
the
No.
brings
one
intonation
marked
pretty good
Schroeder,
its difficulties
right hand
the
tliis study is, in this
too
7, this
get the
all the
8 ;
No.
contractions
mastered,
readiness
the
means,
is to
and
It has
and
tempo,
When
belong.
5
troppo.
non
7 ; Eross,
No.
Studies
Like
Fingers.
8.
No.
-f "Allegro
major"
Original, No.
up
vigorous, a
a
grand dStachS^ then
the
sharp
right hand
of
STUDY
out
and
bold
a
string.
the
become
must
be
may
amount
proper
a
stroke, which
the
neat
into
by
case
intermediate
actual
or
the
as
"
control
also
of
amplitude
position
imaginary
an
should
arm
upper
the
ourselves, the
express
23
KREUTZER,
STUDY
TO
HOW
;
the
they
shaping
Mastery
general
a
it is
given
pupil.
,
Practised
Bow.
speed
of
the
means
acquirement
great value.
general playing
crossing
the
at
the
The
is this
stringsthe
point
extreme
of
a
light and
light running
must
move
the
bow,
ready running
useful, but
slurringsare
hand
of
stroke
at
most
the
freelyfrom
fair
a
ing,
bow-
useful
in
point.
In
the
wrist.
HOW
24
If
The
spiccato is
;
(\^
F^^c^^^o
V*\
useful, and
5 ^f
in the
The
overlooked.
on
the
the
regardlessof
adept
the
the
volant
will
in
"
in
when
of
changes
in
the
the
string,the
view
each
; the
highest
order.
spacing
of the
may
be
9 ;
Massart,
the
on
the
case
a
must
staccato
the
cause
its
functions,
volant
will
not
xnodera^.
-Allege
No.
8 ;
study
was
of
The
in the
stroke, make
element
fingers. To
No.
Kross,
of
from
Schroeder,
results
the
more
than
half
of the
it
intonation
an
first
the
one
9.
No.
trill studies
place
fix this in
without
played profitably
4 ;
to the
with
written
^^
jLJ_M.
it is evident
frequent changes
alternation
degree
miserable
slurred
staccato
not
9.
Although preparatory
this
in
as
performs
wrist
No.
1
first of them,
that
degree
wrist
^^^^^^^^s^^i
the
most
"
Pn^a^or-
sense
of
must
first
finelywith
it
which
the
For,
reverse.
firmly articulated
STUDY
Fingers.
is the
bowing
second
the
perform
playing
string;
this
in
difficult.
Original, No.
different forms
also
depending
just the
elasticity. The
clingto
to
stroke
a
but
"
at first
is necessary
prove
hand
of
playing.
:
stick, and
the
spiccato,an
devoid
hair
It is not
of the
one's
V
elasticityof
function
in
staccato
part played by the right hand
be
bow,
mind, the
our
exceedingly neat
ornament
by Massart,
followingform
n
become
will
great
a
;
recommended
these, to
KREUTZER,
stroke
indeed
nimble,
clean
STUDY
this
practiced enough,
and
of
TO
of
and
in
a
its practice
in
purpose
tone, often
at
study
of
the
importance, then,
is
the
the
mind, the whole
piece
bow, simply by placing the
figure simultaneously
each
fingers for
1, 3, 5, 7, 9, 10, will give this
measures
S
25
KREUTZER.
STUDY
TO
HOW
Thus:
string.
:
3
I
I
I
the
on
11111
i
t
?
w^
A
work,
the
It has
be firai and
must
this
important
each
shift with
of
detail
further
to
most
finger.
Thus
emphasize
first note
the
shifting,to play simply
its proper
does
sure.
useful, in order
found
also been
finger,which
first
shifts the
shifts,in taking which
six
of
:
111111
i ^^
faithfully,these
Practiced
in the
For, the intonation
the
time
that
of the
aims
oi this
Persevere
hand
will
easily.
that
shifts
many
hand
Take
this
learned
these
in
short
a
it does
all the
time, and
not
with
slowly and
study, with
There
fingers go.
where
or
cramp,
attention
gaining
to
endurance
which
in
are
study.
.the
until
and
time.
save
being assured, the
and
speed, flexibility,
shortest
some
preparatory exercises
given undividedly to relaxing the
be
may
^m
a
the
fit the
to
seem
relaxed
good stpred
that
places where
are
the
strings
hand, and remember
up
in
fingerswill
it, may
be-
not
feel all the
not
good right a\^ay.
Furthermore,
methods.
other
The
is to
one
strikingthe fingersaudibly
cramp
and
the
other
hold
down
;
to
string.
Of
is to
the
the
on
play
unused
former
play
the
the
attended
has
gratifying success
the
finger in
with
each
much
use
without
fingerboard,
study
method
study
the
but
the
the
on
two
bow,
avoiding any
bow,
slur
of
as
a
made
written,
ing
neighbor-
may
be
the
spiccato and
; of
the
latter,a little will suffice.
Bow.
Aside
from
the
prescribed slur,
the
HOW
26
saltato
and
bow
at
slurred
a
the
on
STUDY
KREUTZER.
excellent, notably the
are
running
TO
the
of
bow,
down
two
taken
10 ;
this
but
skip
third
shift
that
one
either
with
fourth
the
Massart,
4
from
-^
light
preceding study,
bow
up
notes,
cato
stac-
No.
9 ;
10.
Moderato.
"
Schroeder,
No.
11.
Fifth shift
first shift
the
as
a
;
from
or
the
go-between,
recommended
times
9 ;
Kross, No.
:
being taken
is at
the
case
No.
major"
Measure
by
ten
that
at will.
G
Fingers.
; also
for the
and
STUDY
Original,No.
stroke
point, recommended
variant
up
former
shift,
procedure
poor
a
awkward
to
third
In
pupils.
first
finger takes /jj"on the A string,before or
finger,the .octave, f^'f^" being thus seized by
,
the
octave
1 and
fingers,
the
fourth
finger,and
finger,is
uncertain
positionwith
in tune.
d'\
so
and
hence
this
figurefits its
the
as
finger,the
the
the
first
care
must
be
for
the
rest
its
highest
own
given
shifts to
to the
fingertaking its place by a
stringas a guided shift from some
first
go
the
octave,
viewed
octaves.
as
free
lower
into
a
naturally and
tone
/tt"'?and
/Ji"
are
after this
should
preceding figure fits
study
with
tone
hand
of the
hand
; the
to take
octave,
own
free shifts in the
much
the
wrong
fingerready
as
reach
draw
to then
Furthermore,
light all
along
any
To
4.
to
the
skip, or
in
d!
one
quently
Consefourth
moving
position.
HOW
13
Measure
fingermoving from
hand
the
"
method
two
or
clinging
d" to
y
more
to
and
the
difficult to
be
stringand
crossing
G
string as
getting
the
on
elbow
any
round
to
Hold
down
sufficiently
high.
17
Measure
other
line with
the
passage,
first
position,the
finger
the
on
tones
fallingas cleanly and firmly on
4
string;
the
be
fingerboard
the
first
elbow
whole
finger this
sixth
the
in
in proper
are
The
the
If, now,
shift
finger
any
place.
proper
with.
knuckles
rf'",g^\ c'\f^ the fingers3 and
the
the
over
first
skip
of
guidance
the
-
"
or, free
string;
the
begin
measures,
the
to
one
it will not
the A
without
fingersare
better
guided skip shift
:
along
upward
around
well
fingerboard,
some
methods
and
is the
brought
Two
moving
hand
the
until
21
KREUTZER.
:
shift taken.
Sixth
STUDY
TO
this
depends, however,
right,and
the
holding
on
on
hand
the
fingers1
:
"-*.
Skip
to/",
first
to
fifth shift
this shift
being
fingeron /"
"/",when
The
it will
taken
the
on
first
be easy
E
fingermay
freelyby skip, or
string,and
use
place the
fourth
to
prefer the
free
and
fingersgo
to the
octave,
specialgood
of this
study
fourth
The
in the
take
the
any
but
the
useful
most
which
skip shift,the
free shift.
may
be
Only
first
after the
played
slurred
with
a
or
one
A
string
the
place
may
finger in
procedure, in
shift
We
tune.
the
which
to
first
/''/'".
lies in
the
a
of
broken
at home
Massart
staccato
firm
the
up
guided skip
a
fingersare
plainestbowings.
being a
pass
gives
the 16th
flpng
stroke.
a
chord, and
is it wise
few
note
to
versions,
groups,
HOW
28
TO
STUDY
KREUTZER.
STUDY
E
No.
major
U.
-^"Andante.
"
^^
Original,
The
No.
11
;
fingers.
One
huddled
places
before
motion
; and
in
the
sees
a
the
to
For,
held
Rule
as
to
independent
the
and
be
must
be
shift
or
of the
best
To
; thus
to
with
the
the
fii*st
2 and
3
finger.
shift,
new
their
to
proper
unnecessary
violin
the
the
shift
one
fourth
means
playing,
quite
as
as
may
rigidly
as
fault, employ
this
obviate
until
fingers
gaining
excluded
is
not
the
back
6,
to
played
the
against
which
shifting finger
set
with
used;
engine.
and
has
after
No.
fingers
hand
first drawn
motion
the
which
in tune,
mechanics
machine
hand
\
legato, but
of
the
crowded
play
unnecessary
first class
with
third
or
may
the
in
to
thus
they
observed,
a
shift
f
Schroeder,
;
good
a
holding
to
:
closely together
fingers if
be
words
get
11
No.
Kross,
;
to
relative
move
is wrong.
10
only
frequently
triplet in tune,
the
the
other
in
No.
Massait,
is not
altering
another
This
;
here
object
without
tU
fingers have
become
:
2
Care
the
hand,
violin
must
be
taken
stays behind
tightly by
the
of
the
chin.
the
thumb,
fingers and
The
hand
which,
moves
must
as
the
about
be
free.
rudder
freely.
Hold
of
HOW
30
We
us
first of
the
this fact
emphasize
let
here
have
KREUTZER.
double
the
first of
the
"
further, that
say,
STUDY
TO
the
if instead
stop studies.
double
of
stop
us
studies.
And
book
straight
the
playing
Let
order, Studies 1 to 42, as is usually done,
through in its numerical
the pupil, after finishing
this study, takes up
slowly and by bits
the
dreaded
much
last ten
32, he will
in No.
end, and
will
little,if any
are
bare
the
than
difficult,
more
chords, thus
the
help
4 is
other
the
3, held
down
as
be
in
extensions
A
loose
wrist
three
arpeggio
wrist
stroke, so
first note
self
is
the
the
two
play
on
in
tones
of
tune,
the
stringswhich
the
at
held
; then
up
stroke
each
should
3, finger
finger
on
where
the
strings,
figure may
be
strings must
not
are
Finally,some
properly
exacting
the
down
bow
bow
upper
down
finger
one
it fits two
fingers!
strokes is given by Kross, and
by
requires a
originalbowing, which
the
on
point, the
be
slurred
and
practiced. Play
the
string,hand
the
the
cato
stac-
staccato
staccato,
until
attempt the bounce, concentrating the
speak, by avoiding a long bow,
in the
Hold
study.
made,
positiveharm.
a
learning
articulates
to
terms, to the
a a
chord
pure
shift
string arpeggiosmay
with
studies
the set.
in
lowest
strings,where
great variety of
with
a
a
play
Hold
After
Massart.
as
would
to
one's
occur.
Bow.
^ a
the
one
; indeed
to do
the
i
three
require
But, if
gauged
these
finding its place. Thus, in measure
made
of intonation
sure
by the touch
the next
string. In those measures
fifth measure,
the
sized, is
the
not
played.
well
in
on
figure does
their
3
a
and
guided
others
many
i
study through
fingers. Except where
the
gainer in
:
the
play
the
feeling that
figuresto
^S:
and
will be
of
satisfaction
Reduce
Fingers.
time, and
much
save
have
studies, following the directions given
until
both
hand
and
while
stick
accenting the
respond.
STUDY
TO
HOW
major
14.
No.
STUDY
A
4
"
31
KREUTZER.
Moderate.
"
W
#^'--"L"j[m
Original, No.
13 ;
FiNGBKS.
after
the
Hold
the
intonation
An
fingers begin
fingersclose
Measures
12 ;
No.
Massart,
9^ 10,
to
and
to
of
12 ;
first
the
14.
No.
order, -which,
develop
to
serve
may
Schroeder,
bow.
the
stringsthroughout
the
11
Kross, No.
study
go,
tj^f4-^
^
:
^
iyf=^
^^^^M
IK
^^_^^m:^^
In
shift
(easy) and
this latter
the
case
note
^".
by slidingthe
fourth
hand
swinging
In
the
the
after
it; the
its tone
the
reach
whole
first of
out
hand
all.
into
time
same
must
This
cf' and
tones
the
first
the
hand
in
finger 1 fallingover
new
move,
technical
for the
extended
10, 11, the changes of shift
finger over
not
the
(difficult),
comer,
at the
from
two
occur;
fifth shift
around
measures
first
finger must
taking
from
one
extensions
(/",the finger4 being
tone
high
9, three
measure
are
c?" to e".
shift
and
draw
made
The
the
shiftingfinger
procedure we have
the
HOW
82
TO
already discussed ; but
faulty shiftingprompts
25
Measure
group
the
"/'\ as
to
Measures
the
KREUTZER.
frequency with
which
again mention
to
us
The
:
STUDY
second
with
meets
one
it.
finger shifts
from
g"
in the
fourth
shiftingfinger.
40, 41
:
9
ta
Swing
Draw
the
would
mention
violinists
hand
the
thumb
back
before
again, in
play
with
neck
hand, the
freelyaround
of
the
into
the
connection,
that
going
this
question ;
thumb
bent
the
violin
resting on
hinderance.
it allows
Furthermore,
except in those
be
must
study
held
should
a
Bow.
down
played
are
decided
To
to
some
growth
perform
possessing a good
smooth
to
open
the
hand
until
of
of
the
of
move
the
keep
the
third
shift.
many
of
base
of
freelyand
that
say
in
place.
has
flexibility
difficulties
been
that
to
best
the
of
forefinger.
like
with
in
string,some
the
instead
the
passage
a
We
behind
thumb
the
the
would
we
follow
which
be
considerable
means
hand
the
shiftingupward.
freely backward
the
and
being pinched between the thumb
Such
a
holding facilitates the playing
in
in
comer
this
the
one
least
extensions,
lower
This
finger
difficult
gained.
So
them
master
ear.
given bowing properly, amounts
tone, economy
of
stroke, and
a
to
light-
TO
HOW
ness
of wrist
The
saltato
STUDY
fits the
which
bow
to
Preparatory
search
it out,
spiccato stroke
this is
do
it
as
well
hair
without
one
in
this
of
the
As
study.
STUDY
B
Original, No.
Special
flat major"
easilyand
by
to
do
at
string too
much
than
aim:
to
gives
which
a
the
wrist
no
study
one
for
the
practice in
play
can
this
string,
this
ing,
especialbow-
student
the
will
is of
The
the
No.
13 ; Kross,
a
an
command
is
the
end
third
fr
No.
15 ;
of
must
of the
a
the
be
of
series of
will.
the
Schroeder,
finger trill.
in which
act
troppo.
non
importance here,
no
desideratum
endurance
16.
fr
fr
develop
freelymade,
much
unjaded
cling closelyto
to
Allegro
"
"
practice; especiallyof
slow
So
14 ; Massart,
of beat
time.
flash
in
spiccato,play assiduouslywith
No.
^
some
also, and
appreciate its importance.
to
closeness
string.
point recommended
literature, and
first in the
of
changes
many
at the
This
were.
ellipticalmovement
that
the
to
38
recommended;
are
stroke
stroke, causing the
hand
the
8.
No.
the
to
spiccato strokes
and
that lightrunning
especially,
Study
KREUTZER.
the
This
no
may
result
be
may
that
from
trilling.Quality of practice should
a
quantity of notes, and the student
Rapidity
or
for
beats,
perfectlyeven
fingersprings like a
study. Furthermore,
firmly. Stiffness
16.
consequence
followingvariant
acquired
No.
be
the
gained only
:
fingersremain
do
not
this
as
striven
should
grasp
the
from
too
for, rather
never
forget
HOW
34
that
trill is
good
a
takes
its
time
own
There
are
constrained
do
trill and
and
the
trills,
as
will
and
tliat when
that
the
hand
We
should
finger has
the
little
hands
a
We
have
16 ;
practisedslowly
This
two
method
beats
;
injurious,
found
make
will
a
16.
No.
major
Moderato.
""
"
x
No.
that
this
with
an
finger
have
we
it
study.
Massart,
found
the
ready, it
tr
tr
Original, No.
with
not
trill is
; and
cramp
study
spasmodic
hinders
short
the
free and
become
STUDY
D
of
this
trill is that
and
accent
they
in the
notes
short
the
it were,
the
early study
many
of
until
why
with
charm
One
tight,awkward,
eight
see
played
insensibly,as
too
least
healthy growth
hand
loose
a
cannot
be
all
will feel
trill ; at
best.
case.
that
with
slowly
short
repay
give
to
trill with
short
the
believe, also, that
We
it tends
that
where
a
warble
and
growth,
be forced.
usually the
its
KREUTZER.
cannot
followingstudy
accent.
action
and
advise
not
begin
may
of
practice these
turn
is
STUDY
matter
measures
;
We
go.
a
TO
14
;
study
quite a long
does
away
which
may
with
be
the
16
Kross, No.
also
trill ;
harmful
learned
very
;
Schroeder,
best
yieldsthe
follows
as
"
cramp
No.
16.
return
if
:
trill " of
quickly and
one
or
safelywhen
HOW
and
without
also
gives
the long trill is easy,
method
This
fingers.
and
effort,which
even
and
strengthening the
As
the
preceding study
go
hard
; not
of
much
so
position of
with
i-elaxed
Massart
gives
from
the
and
bow
fourth
and
hand
enough
found
to
to
call for
be
unequalled
a
tained
sus-
in
finger.
the
places where
are
weariness
from
as
a
fingers. Play
certain
such
fingers
ness
awkward-
places separately
hand.
the
the
little
the
flat
stroke,
hand
may
be
bly
unifying admira-
finger.
STUDY
B
variant, which
excellent
following
played spiccato,or legato with
the
beats
there
35
danger of stiffeningthe
any
have
we
loosening
in
KREUTZER,
STUDY
TO
17.
No.
^
major"
"Maestoso.
6
i
i^
S^
^
^P^
.
.
L
Original, No.
The
of
union
brilliant
trill
be,
in
quickly.
Let
vigorous
hands
thus
Massart,
bold
a
two
the
the
nature
trills be
and
^"^
s
of
are
The
with
an
easy,
beforehand
known
"
Schroeder,
No.
the
fluent
trill
study
valuable
throughout.
figure may
and
"
may
be
17.
clear, and
interesting and
an
things
equally
19 ;
No.
stroke
this
fingers.
:
16 ; Kross,
martel6
elements
^5^
i
No.
figure, makes
If these
study.
should
16 ;
be
they
learned
Play
further
with
veloped,
de-
BOW
86
TO
STUDY
KREUTZER.
STUDY
G
No.
18.
I
-Moderate.
17 ;
Kross, No.
major-
^^^
Original, No.
17 ;
endurance
Requires great
hand
tiringthe
the
hand
until
due
positionof
to
of
much
than
to thus
many
work
in
fact
Studies
as
end
of
the
that
these
taken
that
the
as
nature
a
of
relief
are
no
if these
the
to
things
gradual growth
thus
at
the
the
study in Kreutzer,
be
given plenty
than
difficult,
there
would
be
in
fact
that
not
causes
of time.
those
all the
will
and
"
If
a
these
which
more
be
case,
and,
them
play
they
few
come
scholars
studies
were
preceded them,
for
place
from
from
will
to
the
ten
the
fact
passages
in
they
will
will
the
in
the
of
element
if taken
than
life-longbe
end
should
or
difficult,
our
way
beginning
them
the
of months
slightwhat
more
to
at
the
now,
better
at
Nor
these
consideration
the
to
consequence
reason
done.
pupil
the
the
of
double-stop
of the
begun
to
may
presents
;
ment
statea
day
trill
Their
the
been
many
weeks
ordinarily the
fostered,
very
of
more
is
course
The
many
that
that, aside
studies
more
the
course.
has
studies, and
trill
take
satisfactorilythis
shown
double-stop
little
a
what
edition
difficult than
more
devote
than
gainer thereby.
has
will
study, tc
previous
a
to
argue
on
loose
a
this
Hence
the
work
other
defend
many
two-string playing
of
every
Experience
studies
not
4
learner
begfinningf
in
subsequent
of Kreutzer
end
the
point
the
string
3 and
with
in
recommend
to
does
G
time.
namely:
this
after
up
of
end
at
nearly
course.
single stopping,
act
short
original edition
the
repeat
effort
here,
studies
be
must
the
We
strenuous
innovation,
and
probably
very
growth.
a
shifts
19.
helpless,awkward
will feel
of
it in
occasion
bold
a
double-stop
position
hand
No.
the
on
trill studies, the
other
matter
any
trills
played slowly
his
a
learn
take
seem
does
the
Schroeder,
;
trills in the
finger. Play slowly.
better
We
All
hand, and,
trill is
and
storm
the
good
a
"
in
places where
weariness
is
As
easy.
20
finger,the
be
strings,must
across
come
of
quickly.
very
back
two
No.
Massart,
far
ing
of thinkbetimes.
by
SOW
38
TO
STUDY
KREUTZER.
f#S^
quiet carriage of
The
place,must
the
must
Play
the
first
of
thing
there
be
that
After
is easy,
the
the
above
this, and
other
of
and
the
troublesome,
string nervously
in
trill
the
shifting
"
hand
when
bowing,
be
tried
so
many
this variant
hands
many
thing
shift.
beginning with
one
inclination
very
is
well
of
mentioned
And
for
the
through
change
spiccato may
tried, the
being
work
to
the
point
slur.
be
may
the
the
lastly,the
variants
auxiliary note
fii-st with
at
its proper
absolutelynecessary,
hurried
no
it goes,
stroke
fingerto
tte fingers are
If
given,
When
slowly.
the
it is
;
clutching, also
no
light running
times.
in mind
borne
importance.
variant
patientlyand
and
be
ever
of
hand, and
the
to
ward
awk-
very
clutch
which
should
"the
be
avoided.
This
neglect the
that
way
kind.
this
hand
freedom
and
bow
excellent
very
and
means
is
study
deprived
which
will
to
If what
To
that
play
fingers remarkably,
possess
one
may
neglectedstudy
is
learn
A
from
of the
one
from
and
slurs, unifies
play
to
it well
fluency of
study
defines
first in the
very
No.
and
a
in
very
19 ;
Massart,
No.
time
No.
entire
set.
sifirn).
24
;
the
this
its character,
20.
18 ; Kross,
of
useful
I" ^^c'
Original, No.
its
study sufficiently
prolonged
it without
a
-^"(no
major"
strength
permanent
brilliancyand
both
STUDY
^
of
usually neglected. Through
surely come
continuous.
the
is
Schroeder,
No.
21.
HOW
Also
the
of the best
one
trill,
as
serves
as
fine drill in
a
fingerboard.
and
as
Massart
scale
a
sixteenth
Of
study.
and
notes,
rapid tempo,
this
these
trills and
study
be
stringsmust
if
even
As
to the
fingers1
and
places at
each
the
as
shift
yield
them
shifting,we
if
octave
an
in tune, the other
the
well
around
should
the
work
cleanly
position,they should
right that
down
the
^
their
goes
the
and
to
the outside
But
bring
"
The
trills.
as
gers
finwhat
matter
no
be
another.
21.
Moderato.
"
tr
hand
easy.
against one
No.
the
stringsmay
first fingeras much
vigorously;
chafe
that
back
and
major"
tr
the
smoothly, add
STUDY
D
are
go
not
and
D
take
both
played. If, now,
be
hold
and
fingeredwith facility,
the scales
possible. When
and
high shifts,
than
words, the
measurements
to the
stroke
the
; but
in these
tone
in other
;
to
were
bow
nothing better
fingers,must
octave
of shift
useful.
most
mastered, boldness
up
their
say
4, the so-called
change
an
of the
staccato
the
are
trill
a
as
little.
a
can
fingersare
elbow
with
bowings,
vigorous forearm
a
give, when
will
to
to force
has
one
made
with
crossing the
in
slurred
a
spiccato stroke,
the
and
various
bowings
and
it is unrivalled
shifts
free
it first without
Play
such
as
it, with
clearness, especiallyif begun
G
; for
taking
treats
Also, if played without
in
in the book.
studies
plain scale study
a
39
KREUTZER.
STUDY
TO
tr
tr
fr
3
Original, No.
A
to
companion
do
will
20
the
;
Massart,
to No.
No.
19,
19 ;
Kross, No.
in that
fingers3
shifting and
trilling. If
play.
Utilizingit
be
easy
making
this
to
a
good
slurred
staccato
17 ;
No.
in
19
and
4
way,
called
are
is known,
another
20.
Schroeder, No.
this
and
on
study
besides
study by repeating each
tone,
HOW
40
M assart
aim
that
gives
the
variants
STUDY
tripletvariants, which
represent
indispensable.
valuable
more
valuable
rapidityand
violinist will find
as
KREUTZER.
exceedingly
some
lightnessand
at
TO
than
a
phase
We
of
technique
recommend
these
trill practice.
any
^^i
"^
spiccato.
STUDY
Original, No.
We
not
have
advise
never
the
studies
very
21
No.
; Massart,
seen
well
been
20 ; Kross,
spend
to
Moderato.
"
No.
23
specialpaerit in
any
student
have
-^
major"
flat
A
22.
No.
much
;
this
time
learned, this
Schroeder, No.
study
on
one
may
it.
be
and
22.
would
If the
despatched
quickly.
B
flat
23.
No.
STUDY
^
major"
"Adagio.
-u-.'
^m
t
m
sr
I
fTrrt I
1 1 1 1 1 1 1
Original,No,
1
22 ; Massart,
II.iI
! M
1 1 1 1
No.
iI
21 ; Kross,
i""
No.
going
fore-
26 ; Schroeder, No.
28.
scholars, because
Most
and
in
this
study,
its
regard
and
successful
they
second
first and
41
too
great
a
strength,and
pieces on
to
often
cadenzas
be
broken,
last
at
But
problematical.
as
first
at
run
playing, go
are
and
time
performance
if,
follows:
as
1.
f^-fff-tut
i
4-
fc=M
-^
"
SIEE
wm
7
t
i
what
both
waste
for instance, the
No.
they attempt
fail to hear
doing
so
KREUTZER.
STUDY
TO
HOW
^^Jt-t-t-t
I
I
I
t
\J
tn*^
m
-f-
i-
"
-F-
-t-
I
-^_^L_^.
"
r
f
f
r
m
I
"
and
be
For
the
then
to
put together,the
different
in
detail,which
master
them.
sense
although
whole
be true
these
thing.
"
will
runs
has
experience
be
will
^
to
been
have
then
shown
satisfactory.
most
be the
sidered
con-
quickest
Furthermore, although the general impression
to the
accents
In
results
of these
elements
prevails that the cadenza
a
^
I -*-
I
f P
r
tfffff^-ffffr
^
in
ti-^-
4!^
r
1^
way
4^
f f f 1^ t
II
r
many
may
is
a
learner
run
it is not
be hidden
of the
runs
without
the
in the
a
time
run
"
which
without
general sweep
first note
may
accents,
of the
is tied ; this tied
HOW
42
note
is
accented
is the
plain.
to the
As
goes
be
consideration
bow
one
of
Study
the
written, and
the
Furthermore,
skill.
give
would
if
break
to
triplets
without
begin
a
1
No.
and
may
until
spare
the
bow
of
study
run
at
the
and
swell
a
then
will
a
have
himself, without
devote
each
goodness, by
scholar
the
;
slurs
Indeed, this Study should
all its
extract
careful
long
a
distraction,
fingers.
STUDY
Q
Original, No.
It has
all
which
notes
which
note
of the
accentuation
even
as
slur wiU
his command
at
to his
play
stroke.
in each
preceded,
it is well
Then
of each
diminish
in
the
note.
;
smoothly.
beginning
a
bow
The
note.
measures
the first
tie,accent
KREUTZER.
notwithstanding,and
note,
those
In
STUDY
unaccented
it the
follows
TO
through
23
a
minor
Massart,
found
been
as
;
No,
No.
useful
"
23
4
;
"
24.
Allegro.
Kross, No.
and
single fingerstudy
time
;
as
27 ;
Schroeder,
saving
follows
to
play
No.
24.
this
study
:
^m
/fff^"ff^^ff4^f|firr
$
3tJ=
r.
d
sd
r'r\J4'~
HOW
This
if octaves
and
play
learn
to
the
After
and
the
measurements
; and
made
stiff,and
plan,
is the
as
only
safe
bowing
extra
quickly.
The
seems
Q
i
major
I
included
Original (not
in the
No.
in
Study
scholar
way,
the
free
with
and
shifts
more
sounded.
the
the
same
has
have
must
nothing
not
who
the
assurance
saltato
21
**
;
learned
the
is the
than
Nos.
Studies
24.
foregoing
So, let him
of
stroke
taken
take
Bow
success.
is
as
good
as
safest
is
slight,
No.
22
;
Kross,
26.
Difficulty,
slight.
studies
more
for
octaves
some
The
than
half
time
; for
20, if played properly, are
by
up
easily
and
study
this
^m
''); Massart,
No.
6, 10, 14, and
octaves
best
this
t
unconsciously played
in
of
^
No.
as
warn
xnoderato.
Schroeder,
way
would
26.
^
Forty
we
hands
fingers are
*
?.
many
possible.
or
"Allegro
t
3
E
the
time
a
No.
^
the
in
notes
helps
But
For
necessary
"
lower
difficultyof
STUDY
fingers,as
proper
prolonged practice
any
practice at
plan.
the
method
This
earnestly,too.
little
the
well, put the fingers together
goes
against
him
a
then
most
student
warn
thing
with
notes
it stands.
study
study
no
upper
the
the
enthusiastic
and
the
43
KREUTZER.
being played,
were
manner.
same
STUDY
play all
to
means,
TO
the
and
octave
finish
variants
any.
are
fingers,even
these
two
if
studies
suggested here"
44
HOW
TO
STUDY
KREUTZER.
STUDY
flat
B
No.
major
4
"
26.
Moderato.
"
4
^fe
24 ; Massart,
Original, No.
the
fingerboard,
the
fingerboard
right,and
the
in
these
4
the
are
of this
the
on
Schroeder,
well
give
26.
and
In
out
crossing
around
stringswith
fingerswhich
No.
down
study.
the elbow
high shifts,bring
and
28 ;
fingersheld
features
the
are
place fingers3
strength,for
and
No.
24 ; Kross,
shif Ib, scales, extensions, and
Skip
over
No.
the
to
especial care
trouble
most
in
higher positions.
20
Measure
Skip
back
fourth
to
guiding
neck,
to
allow
or
"
a
hand,
change
first
bowings,
of
spiccato and
the
exceeding value,
and
are
may
we
learn
strike
the
and
and
the
firm
drawn
more
from
easy
the
large
to octaves.
this
suggest
the
measure.
made
are
of
be
may
sideways
changed
to drive
would
butt
shift in the next
awkward,
be
the
thumb
vigorous stroke.
saltato, and
the
sixth
the
to
fingerbackward
the tenths
which
which
after
extensions
bold
thumb
shift; let the
persistentstudy
with
piay
the
the
by bending
By
the
of the
Some
knuckle
:
at
a
Massart
the
forearm
running point stroke.
rapid
pace,
gives
several
grande d6tach6,
stroke
;
and
also, as
the
oi
46
TO
HOW
slurred
leaps
made
There
the
few
are
its force, the
hand
being found,
the
loses
the
under
require discussion
that
which
long risingleaps,in
the
be
held
This
the
given
study
place
be
played
it may
goodness.
prefer,and
being
cites
transpositionsof
an
established
studies
when
be
The
bounce
the
gained
bow
gives
will
the
and
the
not
hair,
so
to
of
29.
the
as
regular place,which
studied
with
easy
must
the
the
of the
the
with
;
change
constant
great benefit, and
constant
fit itself,tliat forms
string unless
speak, to
forearm
search
out
stroke
these
bowings is,
persistenceis
it is the
like
with
one
limber, strong, and
Patient
cult
diffi-
most
reconsiders
some
of
account
tenth
of extracting
playing, the
apply
become
light running
No.
hope
higher, which,
To
be
may
bite
the
with
it the
modes
And
technique, who
spiccato.
wrist
all extensions
studies, is the affair of
these
string is
In
Schroeder,
edition.
octave
has
wrist
clear
the
first caused
saltato
a
stroke
10 ;
No.
surely not
Massart
of
until, the position
Moderato.
Kross
player.
one
on
which
string,to
the
the
but
"
shiftingfinger
single stop legato studies,has been
considerable
mature
hand
it, when
may
and
in
possibly
29.
Kross,
;
twenty-nine
other
and
a
string,the
from
20
No.
this.
to prove
firmly.
"
highly profitable. On
however,
of
^
transpositionan
a
the
to
as
be
must
unless
;
string.
No.
last of the
tenth
all its
we
Massart,
study, the
the
down
major"
D
;
Rule
fingerseizes
STUDY
27
that
travellingfreelyupward
fingermust
Original, No.
extensions
many
unnoticeable, all going
are
things
KREUTZER.
the
high notes,
to
neatly that they
so
STUDY
the
supple
a
the
are
quick,
necessary.
change
of
difficulty,
has
wrist
string.
The
recommended.
HOW
But,
in No.
as
and
clever
27,
TO
this
play
to
left
ready
very
STUDY
47
KREUTZER.
in
study
And
hand.
requires a
rapid tempo,
a
acquire this,
to
means
work.
"
STUDY
Original,
be
To
gained
and
three-
of
firm
the
;
Massart,
major
hold
bow
of
of
of
hand
all
have
altogether
is far from
and
the
easy
"
point throughout.
thus
ways
;
iw
fc=
in
into
the
fourth
slurs
;
The
thumb
not
of
the
chords
to
may
should
and
fingers
which
Massart
gives
would
play
biting stroke,
arm.
be
bow
elbow
one
the
last but
tries to share
string.
this, if
beneficial
broken
Keep
played
\hs-
-I
d2S
is
^
jj^
No.
0
minor"
^
31.
"Allegro.
at
in two
:
STUDY
^m
the
;
or
g
position,and,
clean, clinging,and
although
30.
No.
extensions,
some
air, tightens,and
change
very
13, 14
measures
Schroeder,
arpeggio figures,wrist
for, and
the
the
;
violin.
the
care
without
The
30
stroke,
throughout
in
a
No.
broken
across
into
for
clearly,certainlycalls
Moderato.
"
forearm
this to
and
30.
Kross,
;
in
strmg
of tone
making
study
this
28
tone
often, in this study, goes
in the
No.
tone
the
^
"
brilliant
a
"
clearness
least, fulness
take
flat
four-stringchords
endurance,
not
28
No.
B
No.
1^5"
48
HOW
29
Original, No.
The
points
vigorous and
play
well
play
it
;
TO
No.
29
are
the
half
here
:
slow
a
;
Schroeder,
No.
31.
short, rapid trill,and
a
give
to
half
the
31
forearm
enduring
rapid rate,
a
time, both
to
up
tone,
ought
tempo
at
Kross, No.
;
and
especiallytough
in
KREUTZER,
Massart,
only fairlywell
if taken
STUDY
little trouble
means
;
To
but
great deal.
a
and
tones
stroke.
the
trills
a
to
For,
are
very
difficult.
It may
that
chord
the
this
backbone
of
being preceded by
what
known,
not
the
major,
whole
second
the
theorists
some
are
easy
if the
intonation
almost
throughout,
1, each
measure
under
its minor
call
second
Hence
it is advisable
tone
in each
two-note
found,
in
as
measure
be
easier
these
slur
to
a
;
then, when
learn
the
appoggiaturas
42, for instance
minor
and
tones
to
these
be
"
are
throughout,
go
the
over
principaltones,
study
may
chord
foreign tone
seconds
minor
times, playing only these
without
knows
simple
If the chord
appoggiatura.
an
play.
to
as
several
will
is very
of this C
member
study
it
fingers,
student
figure:
appoggiaturas, generally
Passages
in
tones
its
the
are
in
entirety.
omitted
when
:
-"-=^=i2?fc
"
f=t
Only diligent work
-even
of
matter
structure,
Thus,
apparent.
is the
the
help
when
the
chords
will
are
make
known
the
and
fingers quick
the
intonation
and
ready,
lished.
is estab-
HOW
TO
STUDY
F
32.
No.
^
major"
49
KREUTZER.
STUDY
Andante.
"
iU
"-#^
i ffi
f
^^
s
8
9
Original, No.
For
Vpiece
the
in
There
;
Massart,
bow,
a
fine
extensions,
nothing
is
this
beginning
fingerits major
that
the
takes
third
broken
strokes
the
in the
From
of
"
we
the
study
of
From
the
its
boldly to
from
measure
is often
as
the
study
allows
the
ourselves,
express
the
to
should
of
very
finger
by scholars,
The
slur may
get the
be
eight
use
fingersin
legato, which
a
in
fourth
fourth
this at first is to
to
eall
place
the
done
shift.
one
study
be
ready fourth
adaptabilityof
an
the
strings,to
is
this
study
exercise
should
for
two
volume
a
be
or
a
the
preceded by
if
fingersto
measure,
will
indeed,
No.
was
fit
Still,
34 ;
No.
we
make
easy.
strings
more
and
and,
finger,
which
finger-board,
following double-stop studies, in
that
increased
gained
and
tough, true,
a
preparatory
We
that
thinking
tone,
believe
already
This
may
accordinglythe
finger in
to
we
element.
themselves
all the
under
measure.
this
so
may
not
"
indeed, the best way
secondary
purity
position
new
before
shape
sixth ; it is
minor
or
master-
double-stringwork.
finger.
finger must
32.
fingers,a
shifting. But
firmly and
go
the
the
about
say
third
the
finger,the
;
to
; for
No.
Schroeder,
34 ;
No.
mention
to
finger must
shift,and
new
legato study
not
new
80 ; Kross,
No.
part played by the fourth
to the
attention
the
30
13,
discussed.
must
these
say
double-stopstudies
single-stopstudies
nicely and
again, and
have
naturally.No.
been
we
would
should
taken.
lay
not
be
No.
13 ; after which
stress
on
our
put off until
34
No.
may
32
words,
all the
follow, very
may
be
taken
60
HOW
with
success
little
on
forward
;
the
and
useless, and
are
easier
his
if these
of
end
often
that
fingersproperly
down
on
finger
the
the
with
a
paralyzing in
the
over
its effect.
precedes
supposition that
the
the learner
dread,
has
be
non-observance
of
double
the
numerical
B,t the
least may
to
If this book
stopping.
of its exercises,
order
be called
this statement
certain
which
to hold
passages,
only
to
way
is, perhaps, in
students
some
is
last studies
trained
the
said, is
it
greater part responsiblefor the trouble
with
been
look
unfounded
base
fingerboard, and, in
strings, which,
violin, the
dread
We
carried
will not
These
them.
the student
then
are
saved, and
Kreutzer
much
than
KREUTZER.
double-stop studies
will be
time
by little,
to
on
and
STUDY
TO
have
here
played through according
loss of time
a
unfortunate, and
that
that
ensues
is needless
and
unpedagogical.
STUDY
A
31
No.
31 ; Massart,
;
38.
Andante.
Kross, No.
study essentiallyfor thirds, with
chromatic
feature.
a
f-
major-
F
Original, No.
No.
sequence
pushing
has
bow
The
and
up
drawing
nothing
to
back
say.
third chord
requiring
fingers.
;
Schroeder,
many
of
No.
33.
extensions.
"^
the
fingersis
In
measure
a
i
21
The
also
a
begins
:
i
the
35
one
This
jsequentlyit
in each
group
is
finger; again
is the
is the
interval
an
by
interval most
a
fifth,sometimes
i
a
perfectfifth,
imperfect fifth,requiring
which
needful
the
of
shift is made.
attention.
two
Gon-
Play
this
TO
HOW
sequence
51
KREUTZER.
measures
six
some
"
STUDY
"
with
detached
gives
four
before
bows,
slurring.
this difficult
Of
octave,
an
"
play
to
he
is all that
a
Massart
the
that
No.
major"
D
sure
32 ; Massart,
No.
that
it
this first
figure. Play
32 ;
No.
chord
the
at
as
m
*
^
32 ; Kross,
here
difficultycomes
the
be
I
^F=f=i
Original, No.
will
34,
i
B^^^a
of
are
we
major
a
Moderato.
"
-^
I
middle
ordinary student
positions
trans-
attempt.
STUDY
The
the
stands, and
it
originalas
should
variants, all
perfectfourth, a major sixth, and
believe
We
seventh, higher.
satisfied
study
Schroeder,
changes,
chord
a
No.
not
34.
in
the
and
study, pure
simple.
it
I
mastered
When
in
^
^
this way,
the
contractions, strong and
flexible
the
those
last
places where
the
moderation,
Massart
that
and
the
sautill^ ; it is
but
goodness
of
strings with
the
study
may
expansions
seizing the
least, all-round
back
be
and
of
relaxed
For
hand,
highly recommended.
and
bowings
second
too,
striking,
stringswith
endurance.
fingers go hard, patience,a
number
first and
-"5
Ty-
in
not
persistenceare
gives a
4
i
independent fingers,a good legato,and
wrist, especiallyneeded
up-bow, and,
-"-
double
easily extracted, namely:
a
m
~I2^."i
that
are
the
this
variants.
grand
d^tach^
It is striking
and
the
great teacher, throughout
52
his treatise
strokes
much
the
two
then
the
on
saltato, and
No,
^
major"
flat
so
acquirement
here
"
B
36.
moderato.
"Allegro
3"
WffT=t
^
33
Original, No.
requiredis
be
;
at
seen
well
to
33 ; Kross,
No.
Massart,
No.
33 ;
explain,technically,in
is little to
There
may
these
on
acquirement, first,of firmness
finger,and
STUDY
i
emphasis
will find useful
one
lightness. To return
ol twice-repeatednotes.
a spiccato variant
and
of clearness
the
of
KREUTZER.
so
on
"
of accuracy
tone, and
STUDY
lays
Kreutzer"
on
different
radically
of
TO
HOW
a
first
reduce
As
has
passages
to
playing.
some
Schroeder,
this
piece.
been
done
their
35.
No.
What
is
before, it
lowest
terms.
17, 18, 19, 20, will give this triplestop figure:
Measures
i
r
"
"
b^
^i
STUDY
B
minor
fls
1^^
1
No.
~
"
-x
36.
Allegretto.
4-AmMm^
'f
s
Original, No.
We
change
the
have
of
34
here
;
~f
Massart,
the
same
positionin which
string,the
third
No.
~f
~f
f
34 ; Kross,
No.
that
we
thing
the
fourth
fingermeasuring
'^f
'^
Schroeder,
No.
'f
36 ;
found
finger,by
from
the
in
free
No.
36.
82
"
a
skip, seizes
fourth.
This
is
64
HOW
makes
used
and
smooth,
it
TO
renders
fine results
with
STUDY
supple
saltato
a
as
KREUTZER.
STUDY
fingers.
It
be
may
study.
No.
39.
-" "Allegretto.
major"
A
the
^"i-f^Ff^^\^ft
37 ;
Original, No.
Massart,
37 ;
No.
39 ;
Kross, No.
Schroeder,
No.
89.
"
Also
a
40
measure
of which
hand.
begins
these
finger. Play
The
made, and
is
use
plays
positions.
Ditson)
containing
with
measures
fifth
diminished
four
Edition
figure (Letter B,
a
frequent
fourth
the
first
legato study, utilizingthe
an
:
of
extension
specially firm
a
important
an
In
part in
this
study.
STUDY
B
flat
No.
^
major"
tr
tr
ii^i^
38 ;
Original, No.
Although
has
been
At
any
rate, he
sign.)
tr
tr
tr
i
Massart,
it does
called
time
"(no
tt
"
40.
not
of
one
who
the
can
No.
38 ;
contain
I
Kross, No.
a
41
;
Schroeder,
single double
best
double
play
the
trill,this
trill studies
whole
No.
40.
study
*)(
in existence.
study through
with
a
HOW
clear and
In
enduring trill,and
with
little trouble
have
learning it, care
time
Played
with
the
will probably
becoming stiff,
double
any
than
rather
Massart
trill he
taken
be
55
KREUTZER.
without
must
quality,then,
"
STUDY
TO
not
happen
may
play
to
to
meet.
much
too
at
a
quantity.
trills :
^
^ " iuiusf-^-^-^-^^^^?-^-p-^^
and
the
without
brilliancyand
In
one.
16, 18, and
slurs, as
staying
spiccato study, this piece
a
the
power,
this form
bow
be
it may
problem being
regarded as
a
will
give
able
consider-
a
of Nos.
successor
21.
STUDY
P
41.
No.
^
major"
"
Adagio.
tr
^^ndji^^j^:
i^
f^^rr^
Original, No.
play
it with
that
;
Massart,
legitimateand
A
To
39
a
fine,noble
39
No.
natural
and
it in tune
with
tone
show
wiU, however,
sustained
"^
ir
Schroeder,
of what
has
fair tone, should
is the
its
42 ;
Kross, No.
;
outcome
a
ir
matter
of
41.
before.
gone
be easy
much
No.
play
; to
study
"
study
reflection,its general effect,in all
playing.
STUDY
D
No.
^
minor"
"
42.
Moderato.
4
Origioal, No.
40
;
Massart,
No.
40 ;
Kross,
No.
40
;
Schroeder,
No.
42.
y(
56
HOW
No
fugal
piece
for
of
this
is
element
new
clearly
it
predecessor,
calls
TO
a
follows
clean
surpassingly
bow,
and
STUDY
KREUTZBR.
introduced
here.
vigorously,
is
from
naturally
and
useful
of
studies.
play
has
and
this
excellent
although,
easy,
what
fingering,
clear
set
not
To
gone
is
a
like
before.
worthy
its
It
ending
FORTY-TWO
STUDIES
FOR
THE
VIOLIN
RODOLPHE
By
Edited
KREUTZER
by
BENJAMIN
CUTTER
Price,
celebrated
The
183
),
1
Violin
which
on
world
school
of
of
Italian
the
Italian
Kreutzer
of
Etudes,
solid
the
the
edition
Edmund
and
In
extant.
detail, and
give
the
he
but has
also
L.
teacher
has
of
by
that
manner
a
"Kreutzer"
Kreutzer
well
employed
from
a
Wieniawski
Studies
additional
with
it the
editor
those
of
''L'Art
and
has
variants
is
is
the
the
variants
well
as
the
two
Sarasate.
of
Emil
the
best
exclude
which,
studied
as
Kross
engraved,
needless
rightly, will
German
and
and
revision
by
to
Kreutzer,
total
possession
the
de travailler les Etudes
pupil
these
sum
on
sought
leading
technics
masterly
means
based
works
how
light, typicallymodern,
the
only
not
favorite
bow
practical,as
most
and
them,
old
the
the
violin
study, present
the
command
Massart,
this in
of
nature
of
present
drawn
the
this
of
examination
good violin-playing.
is the
to
how
advanced
of
outcome
50
(1766-
of
courses
direct
all
preparing
student
Hence
by
and
yet
Careful
of
play
Singer,
Massart,
the
developed
outcome
To
of
essence
This
of
and
Kreutzer
Rodolphe
subsequent
are
"
show
violin-playing,and
yet unsurpassed.
of
will
learned
gradually
was
over,
violin-playing.
masters
of
all
founded
are
violin-playing, the
Studies
post-paid,
bowings.
revisions,
de Kreutzer,"
himself
the
Cents
Two
EUGENE
Scales
Ditson
Ditson
Chords
No.
(Parti.
123.
Edition, No.
Ditson
in
(Part
124.
The
II.
volume)
one
Violin
the
for
(Complete
122.
No.
Edition,
by
GRUENBERG
and
Edition,
Works
Indispensable
$1.50
.
First Position)
All
the
What
*'
Your
work
Not
combinations.
of the
in
violin
violin
and
have
.
1.00
**
Gruenberg's
of
says
form,
making
have
also
you
the
ovdy
arranged.
all the
presented
you
but
best, but
systematically
convenient
technics,
the
merely
not
me
out,
a
.
Positions)
the
Kreisler,
.
Scales
and
:
only
in
Fritz
.
*'
to
seems
clearly worked
planned,
groups
Violinist,
great
Violin
for the
.
1.00
.
Chords
.
hitherto
veritable
a
admirable
and
known
used
are
discovered
chord
your
simultaneous
of all the
encyclopedia
doubt
without
It is thottghtfuUy
of its kind.
one
Especially
hended
compre-
unknown
hitherto
some
tone-
chords
combinations.
I have
of making
in
the
derived
my
much
opinion,
and
pleasure
if it
to
seems
stimulus
of
you
from
any
widely
I beg
and
work,
your
worth,
known
to
you
do
all who
among
honor
me
the
are
interested
violin."
FRITZ
Foundation
for
Exercises
In
KREISLER.
Violin
the
$1.25
paper,
"
This
to
this thoroughly
for
selected
for the
and
the
intended
and
of
author
to
with
Such
topics
strings, chromatic
stops, etc., receive
Chords
aid in solving the
There
as
and
Scales
The
despatch.
practising material.
staccato.
four
double
L
by
daily exercises
student
do
work
new
is
a
runs,
thorough
attention
chapter
separate
and
embellishments,
and
tasks
offers to the
of finger technic,
important subjects
most
finger exercises
for
various
the Violin
runs,
the
etc.,
various
have
been
of special exercises
on
one,
two, three,
positions,shifting,
practice material.
VIOLIN
PRACTICAL
(PRAKTISCHE
SCHOOL
VIOLIN-SCHULE)
BY
HEINRICH
CHRISTIAN
A
English
be had
To
and
German
in paper
bound
munc,
Each
edition of this standard
new
in
with
text
work, revised,translated,and
^ven
are
attractive and
an
volume
one
$1.50
complete,
V.
I, II, III, IV,
edition.
Enlarged
CUTTER
benjamin
Price,
Books
and
Translated,
Revised,
By
HOHMANN
or
serviceable
in five books
enlarged from
throughout the volume^ which
with
50
ct8.
the originalGerman
contains
144
pages
of
cover.
the contents
as
below.
CONTENTS
Einldtende
PrefatoryRemarks
Diagram, showing finger-boardand
of
Technical
in Common
Terms
Book
The
II.
Use
on
schauca
Die
Elemente
Die
Gebrauchlichscen
das Griffbrett und
und
der
Kunstausdriicke
Hkft
I.
the E-String
II.
Die
Leeren
Die Tone
I.
Saiten
der
"-Saite
III.
Tones
on
the A-String
III.
Die
Tone
der
A-Saite
IV.
Tones
on
the
D-String
IV.
Die Tone
der
D-Saite
V.
Tones
on
the
G-String
V.
Die
der
G-Saite
Book
On
the Graces
or
Tone
Heft
II.
Exercises in the Keys most
Ubungen
used
Von
Embellishments
den
in den
Advanced
II.
gangbarsten Tonarten
Verzierungen
Heft
Book
III.
III.
Exercises in the Keys most
used
Gesteigerte Ubungen
in
den
gangbarsten
Tonarten
Book
On
the Various
Shifb
IV.
or
Book
Advanced
Theme
m^
Heft
Positions
'*
Norma,*'
Von
den
Verschiedenen
V.
with
Variations
GesteigerteUbungen
Thema
aus
**
IV.
Lagen
Heft
Exercises in the Higher Positions
from
die
Hand
der Muak
I.
Open Strings
Tones
Bemerkungen
Zdchnung
Die
Stelle des Armes
of Music
Elements
I.
position
hand
and
arm
the
V.
in den
Norma,*'
mit
hohem
Lagen
Variationen
ANALYSIS
HARMONIC
A
COURSE
IN
THE
TO
THE
OP
ANALYSIS
TONES
BE
IN
FOUND
CHORDS
THE
OP
AND
CLASSIC
MUSIC
NON-HARMO
MODERN
AND
CUTTER
BENJAMIN
Price, post-paid, $1.25
have studied Harmony
for those who
and would
designed,primarily,
apply it in t
in their teaching.
in their playing and
life
other
in
words,
Furthermore,
;
review
place inaccesable to the best performances,would
v
planned for those who, living in some
other
in
than that of laboriously
if
have
writing exercises, w"
they
learned, possible, a manner
has given them, and
the
horizon and
thus exercise
broaden
their musical
gift Heaven
appease,
book
This
is
every-day musical
which characterize
hunger for chords and for things harmonic
that by a careful study of this book, cne
learn not
may
that
measure,
strongly this present ^
to
analyze and to
in mudcal
classics
literature,
It is believed
of
harmony that he may chance to meet
important through his heightened powers of comprehension he i
bear wtb
be enabled
to
facilityto play and
greater understanMngy to read at sightwith more
voith more
and
have his muacal
consequently may
perceptions ^those gifts of delight
intelligence^
whether
he act as player,as singer,or as listener.
man-"
quickened and made more
responave,
derstand
anything
modem,
but
in the way
so
only
is far
^what
"
more
"
j
^
"
The
*'
Benjamin
Mr.
of this
As
has
of the
useful
most
as
be
to
well
as
of the
one
exhaustive
Cutter's
and
course
continuation
a
of music
itself
demonstrated
necessities
analysisrequired of
in harmonic
course
has
Music
been
treatise
"*
I have
book
and
exam'med
I
feel
have
Harmonic
your
the attention
called
of
sure
this
on
New
England
studies in the
valuable
subjectis largelythe
the
last four
school
it is invaluable,and
practicedstudy of Harmony
W.
G.
interesting.**
highly
CHADWICK,
Neva
y
work.
of the
students
tested during
practically
Director
able
the
useful and
most
his interest
result of the
for the
"
The
It ought to
charge aS Harmony
PARKER,
excerpts
make
Mr.
is
"Mt
cursory
I
as
examination, impressesme
illustration
book
a
as
va
classes,to
Tale
I
Univera
y
as
bang eminently practical
text-bo
a
glance would
glad
am
to
note
to
valuable
the text
togetherwith the comprehensive and lucid explanat(
adjunct (forboth teacher and pupil)in the study of 'Analysis.'
WILSON
G.
Cleveland, Ohio.
SMITH,
in its scope, and a valuable book for the the
work, thoroughly modern
pleasurein using it myself, and recommending it to others.'*
St. Louis,M
E.
R.
KROEGER,
excellent
I shall take
first
'"A
it.
used
Cutter's
highly
a
retical student.
use
a
upon
a
prove
use.
The
text
work,
stud*
Boston^ Mi
has
Professorof Music
for class
general
interest.
HORATIO
practi
years.
England Conservatory of MuuCy
Analysis with much
of Mr.
Jepson, ^rho
well.'*
as
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