Grutzmacher - Daily Exercises for the Cello Becker

7/27/2019 Grutzmacher - Daily Exercises for the Cello Becker

http://slidepdf.com/reader/full/grutzmacher-daily-exercises-for-the-cello-becker 1/47



1 ..Si-. 'Á

4

á i S « « * É a i i i l a í i f c í s i



¿V-.r*-..

¡MI.M i

• ' 'A-

^ 'A ^ ¿ v <¡

i s a sM K M

-I r

I

•111

H i t

•y.;

6 '

V

Sita

„PPS

- V i » •

lliliíasiiw"

BHHL. l í i p i i „

^$mmmm$mmg«m - ' -vi*





O p . 6 7

N e u e ^ u r c h g e s e h e n e u n d e r g á n z te A u s g a b e

von

f 3 — ^ ~

Pr.3Mnetto.( § " T

N e w r e v i s e d a n d c o m p l e l e d E d i t i o n

Ce

Eigen tum desVerle gers fíir alie Lánder.Míe Rechte vorbehalteu.

LEIPZIG, C. F. KAHNT NACHFOLQER.Copyright 1910 by CE Kahnt Nachfolger, Leipzig. <U

T h e rigli t of the public perform ance is reserved .

Copyr i gh t o f the P ub l i s he r s .

N E W Y O R K , S C H I R M E R35 Union Square.



2

T Á G L I C H E Ü B Ü N G E N D A I L Y E X E R C I S E Sfiir

Violoncel lv o n

fo r the

Vio lonce l l o

Friedrich Grützmacher.

Neue, durchgesehene und ergánz te Ausgabev o n

H u g o B e c k e r .N e w and revi sed Bdi ti on

I n h a l t s v e r z e i c h n i s .

I . R e g u l a r e B o g e n í u k r u n g 3

I I . R e g u l a r e H a n d g e l e n k b e w e g u n g e n . 3

I T T . F i u g e r ü b u n g e n uad Á u s n a h m e n in der B o g e n f ü h r u i i g . 4

IV. Arpeggien 6

V . G e m i s c h t e Übungen 8

V I . T r i l l e r 13

V E . T o n l e i t e r n - 14

V I H . D a u m e n a u f s a t z 18

L X. V e r l a n g e r t e T o n l e i t e r n 19

X . O k t a v e n 2»

X I . T e r z ó n 28

X H . D e z i m e n 31

A n h a n g .

a. S p r i n g e n d e r B o g e n 32

b . S t a c e a t o 36

Table of Conte?its.

I. The regular style of Bowing- 3

II. The regular Wrist-movements 3

TTT. Finger- exercises and Exeeptions to the regular style 4™ - v . of Bowing. „

IK Arpeggios ••• o

V Miscellaneous, Exercises. 8

VI. TlieShake > :13

VIL TheScales 14

VIII. Thumb-position. 18

IX. Extended Scales. 19

X. Octaves.. v 22

XI. Thirds 38

XII. Tenths 31

Appendix.

a. Spring-Bow 32

b. Staccato = 36

Verlftf von 0, F. Kahnt Naohfolger, L e i p z i g . 15 0 C o p y r i g h t 1910 by CP. K ahn t N aohfo lge r , L e i pz i g - .



T A G L I C H E Ü B Ü N G E N .( N e u e A u s g a b e . )

Erklárung der Zeichen.n H i n u r i t e r s t r i c h . V H e r a u f s t r i c h .F . A m F r o s e h e d e s B o g e n s . M . I n d e r M i t t e d e s B o g e n s .

S , A n d e r S p i t z e d e s B o g e n s . G r. B . M i t g a n z e m B o g e n .i — F i n g e r l i e g e n l a s s e n . ( 9 ) D a u m e n a u f d i e S a i t e n l e g e n .

( ?) D a u m e n v o n d e n S a i t e n n e h m e n .4 H e b e n , | S e n k e n d e s H a n d g e l e n k e s .( ! ) ( I ) G r a d d e r H a n d g e l e n k w e n d u n g . re g . E e g u l a r s t r e i c h e n .* E e s e r v i e r e n (A u f s p a r e n ) d e r H a n d g e l e n k w e n d u n g b i s z u rn a c h s t e n h o h e r n o d e r t i e f e r n S á i t e .

V I O L O N C E L L .

I . Regu lare Bogenführung .

D A I L Y E X E R C I S E S .( N e w E d i t i o n . )

Explanation of the Sigáis.

n : Down-bow. V: Up-bow.N. at the nut. M. in the middle.

P. at the point. W. B. with the whole bozo.i — leave the finger on the string. (?) lay the ihumb aeross

the strings. tylift the thumb off the strings.| raise..., | lower the wrist.

( 2 ) (í) ê

Sr e e t° which the wrist must be turned.

r e g . Bow in the regular style. * Econom ize in turning thewrist, for the next string higher or low er.

FWLONCELLO.

, The regular style ofBow ing.o £/>V) Cc V^ Oo*vtio oTAô aVtJX-^

M á f i i g l a n g s a m , m i t h o r i z o n t a l e n S t r i c h e n . Slowly } with horizontal Bowing.

c\. © 1111 0 1 0 1 0 1I 0 1 1

2 .W B.

o' 0 0— p' 0-0

F .N.

S.P.

F .

N.-m -

3 I 1p .

N.

4 . n

g * 000.0 • 0 - 0 -

s .p

F .

ív:

. o ' 1 =Q O O O wmG.B.W.B.

t j :

r r r rl

r r r r : | | : J J J J | . | J J J : | 1 1 lM, S.M. P.

I I . Regulare Handgelenkfoewegungen.1. ( H i n s i c h t l i c h d e r S t r i c h f ü h r u n g a u f N ? 1 d e r v o r i g e n

A b t e i l u n g b e r u h e n d .

II. Regular IFrist-movem ents.(The bowing is based upon N? 1 of the previous Section.)

4 I U

¥ 1'O- 0 —

m

- 0 — - 0 —

FF0

f I — h-1»— —

gk

5

f l 19

G

W

. B.

w W1—•—• —• -W-

í -4

Hl—IIa

m

V

í -4

2 . ( G r le i c h e rw e i s e N ? 4 d e r v o r i g e n A b t e i l u n g e n t s p r e c h e n d . ) i Similarly to N? 4 of the previous Section.

S o

0 =z:0 z:0 :z0-o o

o oo o

M. S. M. S.M. P. M. P.

3 Í Í H o oo o

4o o

0 — 0O O

mü

V er lag von C . F . K a hn t N achfo lge r , L e i pz i g .(In-nil'T-i.írht hit fí - S¡f*hi'*'»'itíf -/J?Q-/

C o p y r i g h t 1910 by C . F . K a hn t N a chfo lge r , L e i pz i g .The¡ risrht of t h . p . tiulilir. inp.rformanne. / ,* ruserned.



4 m. Fingerübungen und Ausnahmen\ , ín der Bogenführun g.

In ruhigem Tempo. At a steady Tempo.n A 4 r — = f

/ Z Z Finger.exercises andExceptions i?i Bow ing.

o 1 3 4 Q 1 3 4 o 1 3 4o 1 4 2 1 o 4 3. 1 o 4 3 1 o i

j i i i , ¡=ii n i

Gr .B. «T.ff.

2 . _ * J H \ {* 4 I í \ i

* 4 I f\$< V ~ — 5 £

* í ** i 4 t/"4

o r

*|i n3

4 t/J * I I í/~43 .

n•4 I f \ l

* I I

fe

• * \0 •

oI» • ¿—¡»

* + _ 4 j ^ *T

i ü l P P4 .

3* H - 4 -I f * 4 f

3

f . . ^ T " 4-n 1—• • °i

d • « d \ *

# 4 1- 4 — 1 4O,•

I 4 * 4 *•

.. 9

I 4- 4 f 4 f

i :i

5. ( D 0 ) ( í ) 4 4 4 - - fi i—_ r 4 1 f 4 1 4-

n __4- -0 - Or T ~ t ° r^ - — m — » u— f n —

o ===

^:-1 1

0 J 1

*- J —o

* - - J -4

• 1

o

w

J 4 — 14¿ Y

6. n 4 + 4 1 4 1 4 H Í Í í U í * * * * í i í 1 + • + • + 1 + *

3i r

a . b .

n7 Í # í

i— 4 — i 3 -4 — 4 — » í — * 4 1 - 3 — 4 2 l— 4

g . b :WJi . Ausfiihrung.

Execution.15 0 Ausfüliruiig.

Execution.



5

D i e n á c h s t e n ( e b e a f a l l s i n l a n g s a m e m T e m p o z u s p i e l e n d e n )Ü b u n g e n k ó n n e n v o r t e i l h a f t i n d e r s e l b e n W e i s e a u c h a u f d i et i e fe r e n S a i t e n ü b e r t r a g e n w e r d e n .

The next exeroises (which are also to be played in slowtime) may be advantageously transposed in like manner forthe lower strings.

1 4 3 1 o 1

1 50



1 1 4 3 1 1 3 2 1 2 1 2 1 1 3 2 1 1 3 2 1 2 1 3 * 2 1 3 2 1 1 3 2 1 2 1 2

16. (Mit u m i n t e r b r o e l i e n . l i e g e n b l e i b e n d e m e r s t e n F i n g e r . ) (The first finger to remain on the string throughout.)

^ a R . a R. a R . a £ A 1 ^ J

1 4 "< 4 1 4 3 4 1 4 -1 * 1 4 1 4 1 4 1 4 1 1 1

1 7 .— # - ^ o

1 1 ) 9

o a 1 4. 1 4 1 4

i 4 1 4 1 4i

i

- 1 ° 1

4

IV. Arpeggien.a. Regulare iiber drei Saiten. a. Across three strings with the regular bowing.

\ 2

I II

2 .£ —

segué

n

— p — i f v ? - — f N>—f—

3 * f +n

m . I „ I I 1

4.m — m

I „ i I II

5.

s. .P.

se g u é

v * r r ^v2 3

V

* — # A ^ # # — # •— # 1 IIsegué

6. V VM \~ — - 1 — - i —

• - i 1=1 * f I

- i =— l - J - J i — 1

* * m

15 0



3

b. Ausnahmswei se i i ber drei Sai ten.

8 . n m V

b. Across three strings with excepcional bowing.

n V.

l o IM ..M.

s egué

n

í IG. B.W B.

10. *—*p^C^ ^C^j* C - * ^ ^ £ * J *

, u . s . w. U . 8 . W .

F. u . M .N.u.M.

F.

F.-I fe*

5 5u . s . w. u . s . w.

y S . u . F . \I S . u . F .

U. 8 . W . TI . S. W .

V S . u . F .\i S . u . F .

14 .

F. i? ík

15. ^ ^ — x " i i i i r i I I I I R M

^ 10 ^ 0 0

M .M.

S.i ? M.

Jf.

S.P.

c . R e g u l a r e ii be r v i e r S a i t e n . c. Across four strings with the regular boiving.



8

17. 18 .

[ íl'>¿ y ^ ' ¿ y W * Vsegué

» _ . L j *

- 00 —

0 ~ ~ 0 ^ 7 ^ 00 — 0~"->0 - 1 1 *):" "1*" 1*N p "W

- ¿ 4— : /

4 4 f - — • _~ z.pLt. a • t> •

20.d. Ausuahmswei se uber v i e r S a i t e n . rf. Across four strings with exceptional bowing.

21

! I* ^ j » - ^ * H n f ' j t * " ^ j ^ j * ^ y 7 ^ — ^ — N J *

F. s.j?.

F.N. G . B .

22.G e s t o f i e n e A r p e g g i e n .

S t a r k und mit b r e i t e m V o r d e r a r m e zu s p i e l e n .Detaphed Arpeggios.

To be played forte with broad strokes with the fore-arm.

I 1 ! \. •

M . S.

M.P- ¿

23.

M .8 . tJ-M.

P

• • •• * ••

tf f f

— « . » w v «•

• •

se g u é

¥

• i

-*5>- o -

v - , ¡ 1

se g u é

24. ^

P

• •

• •

• >

;

r

O

B — | ***

• • « • •J | » <

• •

• • •0 : 0

• •

- - - 1 1

¡ 1-——é— z . 1 J-

— - —• - »

• •

. —

• *

«

• ••

— 1 1

Y . Gemischte Ubungen.

D u r c h g e h e n d s in. g e m a f S i g t e m T e m p o zu s p i e l e n .

I I I I |

/ T Miscellantous Exercises.

Play throughout ai a modérate speed.

o •— 0 0— ^ 9 0^ - 1 • 0— 0 0 m . V

" iw w 0 r

E

— ' b s J * - u - b a — 1 11

mr e g . f-, o o 4

• I» f * p ;j^-0--31

M .

Í o

N.

S.i?

F.

o 14 reg.| | | | |

2. n r - ^

s.i?

m 0-1 -0 0 m 0 0 m 0 1 >>bp> >^ ^ 0 ^0\ 0 0 0V 0V 0

S. M. S.£ M.

15 0



0 9-m t fr m •- 0 ^ • • 0- w 1

3 s>° - y n

f. 1 4

^ 0 -

1 4

0 a 0-0-

ES• £9

M.P. M.

5. o0-

1

0

1

9 ff fA 0

¥ fy r 1 »

6. n^, -

I»" 0 0 0 0- -0-

1 / í 3 4 = = = 17 4H

7. 2

H * f — — F T — P — r a — ° — n ¿ \ . — 0 0 pff

r 11 I— tr r p ••—o—n

jij Lü 1 rl Lu :

i* ° [r_rljitLcr Ixí'Lcf Lcr Lcr Lxr:'' °^fe

8M .

M.

I - i

M .TT M -n . n

o0 0 7 0Z0\ 0 0-B0 0 0 0 0 0 R 0 20 R 0• — 0 -

4G . B .

W.B.'M S.

i n . n P.

S. M. S. M.§[ P. M. P- M.

M . S.i?

l O | T g |0

M .M.

M T S. M. S.M. P M. *

M .

IV. % s .P.

ES

M . S .

-00 20

. . 0 O

VnM..M. 1

9 . í + '

M.

fe

j a (a) (!) (!)1 U

t j t H U . m

M . S . .J f . i ? .

M..

1 r Y*«¿£s$$$\$i$igf0^150



1 0

M.n ^M. V ^

11.

M. N

.4 i..( I )

•I f.

1 ° V>:«&JM .iHf.n4

S. jy[^ M.

c ^ J L4=zzc:i^: -|| o g|- « ^ J k ^ i z z z g ^ J I ^ J ^ ^ - e i ^ J t^J^zzzgzzijz kl^-

"^! 33 1

M .

n u. s. w. u. s. w. u. s. w. u. s. w.

p 3EV

(i) (I) (i)12. I 4 I. * 4 I. I 4 1 I M . S. M.

M. P M.s.

p.

( í ) i

13. í '

14. (Vorteilhaf t auch im Her aufs tric he anzufangen. ) C o be studied with advantage^commencing also with the up bow)

4 + Í--4 1 4 1? 4 i 4 t 4 1 f-.-l..:..^? I 4 i 4(|.....t f

. , ¿== -m- R-¡= • i ^r--5

15 0


http://slidepdf.com/reader/full/grutzmacher-daily-exercises-for-the-cello-becker 15/471 5 0



12 M .M .

F. S.2K- *

2 2 .

M .

M .

M . S .

ívr S. TirM . jí - P. M.S. M . P. P. M.

n- e -

~ M .

2 5 . M i t A n w e r i d u n g d e r k e n n e n g e l e r n t e n H a n d g e l e n k b e w e g u n g e i i . Apply the wrist - movem ents already learned.

.n

^ i f y í ' s f i T 5 i - 5 5 í s ^ I T i l l : y ? ^ - o s - L^ - - F ^ L L L L ^4 i - - o 2

1 ¿ ? 1

i

O S 4

I 1T 5

1

V a r i a n t e .

2 6 . M - s. M .

r o n

- 7 ff 8

p . y M . s.p

1i — ,

/

m9 m- •

p- 9•

ál M • 1 = 1• —c#— ñ 9 di —9 • d m 1 1• • « •

• ^ T 5



D i e f o lg e n d e n N u m m e r n s t a r k u n d m i t a n g e d r ü c k t e m , k ú r -

z e m S t r i c h e z u s p ie l e n , s o w i e i n m á B i g e m T e m p o . I strp/ces.ana at a modérate spe>

M. n i o

mowing exetlay the foílowing exereises vigorously, with short, pressedes,tzndai a modérate svped.

M . 6 r

s.i?

> ¿ n » ¿ ^ !

• t. o , ^

¥ s f 1I ° I ^ < * j y s egué

Jar

V I. Tri l l er . / Z Shake.M i t l a n g s a m e r B o g e n f ü h r u n g u n d m o g l i c h s t s c h n e l le r (j e do c h With slow bowing and extremely rapid and uniform actionf es t zu s ch la g e nd e r) , g l e i c h m á B i g e r M n g e r b e w e g u n g . of the fingers which musí strike the strings firmly.



14

1.

P r a l l t r i l l e r .(Ste t s ohne Nachschlag zu sp ie len .)

Ir

n q,fr

The Transtent- Shake.

(To be plai/ed throughout without the turn.)

fr frÍ'

fr

1 " 1

2.M . M. S. M.

nB M -

co,. o i fr^ • L_ hm_ P _ m _ II p"" l ? ^ P ^ * ^

brn^f m =m P m Atz b íjP b m P b1 ?

b #r b R b

3. n.4 > . 'pvW-p- P

fr-

1

lu° 1 2,

i .o o i

1o T ^ i o T i ^ s ™ 4 3 ™ i ™ i i ;

2 3

(l. F i n g e r u n u n t e r b r o e h e n auf der S a i t e l a s s e n )(Leave 1. finger on the string throughout )

fr JÍL ^J£-^ Jl^ fr

^-p P- -P

fr

p t ' p

1 3

n JF JF n X ¿ .

fi 1 ^ * U L ^ K ^ />• fr- £ ^ 7 ^¿%. ^ p^ t p r r n frp # p~> fff p f p |, o ,. y. r^p f_r --;;•<; U> Ld yLd.^Ld y f l U T y l j y L J y U y:| ° | | > ( ' U yj* y y

1 3

P—M P—a TTP" p

1 2

nfr.

1 3

o ^ ^

M

^ ^ fr ^* *± ^Vb t -

-±segué

fr fr.

^ g ^, -/L a ff -a •/•!!• '«•a ^ 2 y 2 y 2 y la r r v>a f -a y-II II

» 1^ te

FRI.^ ^ ^ ^ ^ ' '

fr:

JÉ P

VIL Tonle i t ern .Mit l ang en Strichen_ entweder je de Note einzel n, oder je zwei,

vier, sec hs und acht a uf einen Bogen_ zu spielen, ohne Rüc k-

sicht auf gleichmaBige Wieder kehr derselben Notengruppen.

Die dabei anzuwendende Handge lenkbe weg ung gle ich t der

(nach und nac h sich hebe nden und wiede r se nkenden) der

Arpeg gien, jedoch. mit Sti ll st an d auf jeder einzelnen Saite.

Es ist sonacb die Hand bis zum ^r l a s s e n der C-Saite s te ts

nac h un t en gek rü mmt , um b is zu r A-Sa i t e d re i Mal

sich heben zu konnen, in ents pre ch ende r We ise a ber beim

Zurückgehen von der A-Saite s te ts n a c h ob en g ew en -

det, und muB diese Stellung, wenn sie regular nicht von

selbs t erfolgt, durch vorh eri ges Rese rvieren der Handgelenk

bewegung herbei gefü hrt werden.

a. Diatonische in Dur.

/2Z Scales.JEmploy long strokes,-playing one note, or two, four, six or

eight notes to each stroke, regardless of the regular recur-

rence of the same groups of notes. The wrist - action re-

sembles that required in playing arpeggios (it rises and

falls), but retains one position on each string.Consequently

the hand is constantly curved downward until the

boto quits the C-string, to enable the hand to rise three

times up to the A-string, in the manner required; whereas

it is always curved upwards when going back from the

A-string) which position, if it does not come about in the

regular manner of its own accord, must be brought about,

by previously economizing the wrist-action.

a. Diatonic Major Scales.



15

a 4 1 g . 4 1 3

3 4 o 44

o

1 3 1 3

o4 | 2, * o, 4 a

„ 4 o 4 2

\ 2. 4, o l 2 4

1 2 3 1—3—i—3- e s :

ll .B .o 4 i

I O 3 O |

# f f F f trftp 4 2 1 4 2,

I. I .

Fis. ^1 2 3 o

o 4 1 3 4 1 3 4•

1 ? : E • c . i 4#

3 1 4 3

I » * -

1 4 2• 1 - 1

4 4 — r ——i1

r. I .é •



16

b. Diatonische in Molí. b. Diatonic Minor Scales.

0&

±y £ 2 4 O 3 *l 1 2 4

1 2

. 2 4. o 1 2 ,i— r r ^ T Í ^ ^ •> flp - f~-

,— i ^—i ~

r r f r f rr íif « - ° 1 . 1 — 1# é m R1 •) 1 ' ^ : : — ' 1 '| | r

I. H—(-

•II o ||

F i s . / ? - ^ T ^ 31 • # • 1 l 3

4

m 4 3 1 4

¿Jl f f iT iini .

Gis. (X

.1 1^ J J J ~ - i = 4 l

Gis. G\

[^3 4, 1, 2 4

' Statt de s hier ausgelassenen Di s - molí spielt ma n bequemer E s - molí.) (Instead of DLminor which is here left out, it isTOplay Ev_niinor.)

easier

G G.

i—©—o

o 1

1 2 3 2

f f1

r i

3

11

r t• 4 3

f f 1 o

r rp.h»u ° i- 1 1>—#-

4—i/p # _ ú==\C.G. 1 2 4 2 I

1 2 4, oI 2 4 1 ¿ • « 1 4 2 ' -

= 1 1 1 1 = r ff f J- 2 - JU«_

2 *

ni .

130



Hóh er füh ren de To n lei t ern ( sowoh l d ia ton i sche,w ie ch romat i sche)s i n d e r s t n a c h K e n n t n i s n a h m e d e s D a u m e n a u f s a t z e s z u s p i e l e n , d a l e t z t e r e r i u d e n s e l b e n m i t z u r A n w e n d u n g k o m m t .

j Scales (diatonic and chromatic) embracing higher notesi cannot be executed till the thumb-position which they re-I quire has been learned.

15 0



V I I I . D a u m e n a u f s a t z .

1.

FUL The Thumb•-Position.

6.E i n e V e r á n d e r n n g d e r D a u m e n = L a g e e r f o l g ts t e t s m i t d e re r s t e n N o t e a u f d e r b e t r e f f e n d e n S a i t e , a u ch w e n nd i e s e N o t e n i c h t v o m D a u m e n s e l b s t g e g r i f f e n w i r d .

The thumb-position changes with the first note on the respective string, even when that note is not stopped with thethumb itself.

r es t ez

W ü h r e n d d e r l e t z t e n N o t e v o r s e i n e m A u f s a t z e n i m m t m a nd e n D a u m e n h i n t e r d e m H a l s e h e r v o r ; e r w i r d _ n a h e ü b e rd er S a it e s ch w e be n d_ e i n e n g a n z e n T o n v o m e r s t e n

F i n g e r e n t f e r n t g e h al te n u n d r u t s c h t (i m m e r i n d e r -s e l b e n E n t í ' e r n u n g b l e i b e n d ) a u f s e m e n P l a t z .

While still playing the last note, bring the thumb round/rom behind the neck, befare setting it on the strings; holdit above, and nearly touching, the string at the distance

forming the interval of a whole tonefrom the first finger, andlet it slide to its place, still retaining the same distance.

9.n i j l » 9 - r T s * 3 o s ,

4r....f

mmm1 0 . l T " 9 ! ' 2 | 9 3 í l ^ ' i f l ' l

?a. '

15 0



D i e n á c h s t e N u m i n e r is t z w a r die " W ei t e r f ü h r u n g de r v o r i -g e n Ü b u n g e n , j e d o ch w e s e n t l i c h s c h w e r e r und d a L e r e r s t et-w a s s p á t e r zu s p i e j e n .

12. e l i s s . 2g h s s . 2 o 1 O

n 1 1 9 1 ° O "

3 ~ d i s s S ' 1 ] ? 8 ! n

n °-0- \~-0-° l ^ 1 4 » g i l » , g -

Though thefollowing exercise is a continuation ofthepre-vious ones, it should be omittedfor the presentas it is pre-

sents too great difficulties.3

o 1

o 2o

gl i s s .4 .

3 Z

o

wm

IX.Verlángerte Tonle i tern.

Z u A n f a n g e a m b e s t e n i m m e r a c h t N o t e n zu e i n e m r u h i g e n( g a n z e n ) B o g e n s t r i c h e v e r b i n d e n , n a c h und n a c h j e d o c h _ be ib e s c b l e u n i g t e m T e m p o _ a u c ñ e i n e g r o s s e r e A n z a hl .' V bn de m( g e n a u a n g e g e b e n e n ) M o m e n t e de s A u f l e g e n s de s D a u m e n s anb l e i b t l e t z t e r e r bis zu s e i n e m W i e d e r v e r l a ss e n der Sai t e g l e ich -

fa ll s i m m e r e i n e n g a n z e n T o n v o m e r s t e n F i n g e re n t f e r n t . (Vergl. N9 7 der rorig-en Abtheilung 1.)

a. Diatonische in Dur.

IX. Extended Scales.

Begin by playing eight notes in one steady Cwhole) bow¡as the speed increases, gradually take in more. From the verymoment that the thumb is applied, until it quits the string,the thumb remains ai a distance of a whole tone awayfrom the first finger (qf. N? 7 of the previous section).

a. Diatonic Major Scales.

3— H— i

O3 4

7*52——

, , 1 2i ^

T f 11/ ^ i

3 2

li*TffAi—7 \—1

r0

L = b : ¿4- w

\ *>

\—1

I n g le i c h e i W e i s e , w i e C -d u r , a l i e ü b r i g e n D u r - T o n l e i t e r n . | All other•major scales in the same way as C-major.

i 2 3 2 . ( ? )

5BEo

» 4

Un -f

J).I?. 1 3 ¿Í W o i 8 i ^ i i 3

o 3 2

ya.

(? )

3

I I7 2 m

1 5 (? )

2 i Lmr +*

(? )3

r r r J - n » ie(? )

ii 3 J

3

• 1 ^ —^4

P i - 4 - -

i „ 3

• 2\ 2 2 *

;

' F F F R R 4 . Á

. 4 1 1— * JJ<

n .I . / *5 1 í í ^

J J :• i n . i n

r v .

4—1

1 50



3 0

H . B.1 2 4 1 i i /, i i i i 4 1 4

n .

Fis. / I

i i

f £ n . m.

1 3( ? )

Í«#p£ 1 2 1 , 2 1 1 •0.1

2 2 2

(? )

I .

F. /:4 ¿ É f F 1 2 , 1, 2 1.

í 3

2 2 o

I .

(? )3 3

— 3 * = £

B . ^

2 , o f- 1

Es. E\

11" f i | / t n f t ;

- 1 - (?)2 O O 1

2

3 2 2,

i

3 l 41 2 1 o

As. î , i

(? )

1 2.1, 2 1 1

4

^ i i Í i i ' i I i W i i i V i i im.

3 3 l

Des. zttí i 1

(? )

(?)

m j j j j - ' rrrrrrrrr^j j j rr r r r rI.

b. Diatonische in Molí.

3 1 2 1, 21 1

b. Diatonic Minor*Scales.

fes

3 3 C;N I » ¡4 Á

I n g l e i c h e r W e i s e , w ie A - m o l í , al ie ü b r ig e n M o l l - T o n l e i t e r n . All other minor scales in the same way as A-minor.

E.JSI.

2 o

l1 l

, 1 U (? )

1 2, i 2flrrff T nTffi 2 2

: T r t f i P , J > l 1 'I TffrrrtwJj I f r f f

M¿ , i o n 2 4

Í 3

3 5

3 .1, O



3 * 1 <*> •

í f í f f i .» 2 , | 3 Éta' * 4 4 •^ - - ^ W ^ r - - ^ - - - ^ ^ = = = ^ 1 = 1

4 — ] - f ^ * i - t 1 ^ ÉÉJJ'\ \

—* Z F IIT < T ¡ 1 i m .

( ? )

G i s . 6 > » , ¿ J e , , ;-j¿í

1_ MÉT i, | — - . ^ « l u j — - i — 1

- — — - * {I t l t l ^ í o M. W. ^

. . . . _ L . - £ f # L U 3 3 3 W.Jpfo 4 4 4

é A * i i r r ^ F f " — — " f c i l f r f f "

* * T i 1

» /Ifkfi'/í/S'/1 1

n r "0

"

i (W • •

- i — " T f i p s r - ^ ' rPüii r~ 11 -1 -1

G^ o j ¿ ¿ • c?) . ; i i p é f t

o © L S p f r T ' " ' M i 3 1 ! , ¿ * f F -

^ - i Y É*D É . . • i i—p^wj^- 4 — 1

3 2t

(*)

ÍL2

, 1 2 W3

4 r r f í n r i J - - f » — f í f r » r ~ 111 -1 1

I * * * 1 d

^ ¿ i1

F . F. . (?) . ! i h i b i

L ^ _ _ J l ? W ¿ a i . U - -=f 4 J j J g - 4 : f b i : |

— — - i 1 / 4 • •1

^

3 o 4 (?)

i r . i. * ^ t a w t ~ - —y — • ~

É á

^

í

— J J [ r ^ j j ^ i

r t t r r r ^ r r r f ^ t p ^ r p ? J f ' i

E s

'^?

L i f a - i * (?) 4

U _ _ _ _ ? L| P H i J -y 1

i f-^Y ^-K

— —IZILLLFUIIFJ n .

3 3 4 (?)

— VF^ML °j

' f r i ; # i J ~ l-i^ f r i i ^ W - - 1 1 1 - — t ^ P - í - ^ - — r T -

m

\ — \

*.727í f t 2 / ? ' m

- iv.7

15 0



C . Chromatic Sea/es.

(? )

2 . I n g l e i c h e r W e i s e , w i e v o r h e r . In the same way as the previous exercise,

Ossia

X. Oktaven.D i e s e Ü b u n g e n , s o w i e d i e s p a t e r e n d e r T e r z e n u n d D e z i m e ns i n d ( i n an g e p a s s t e r W e i s e ) v o r t e i l l r a f t au ch v o n an d e r enG r u n d t ó n e n a u s g e h e n d , a i s h i e r a n g e g e b e n , z u s p i e l e n . D i eb e i d e n F . in g e r , w e l c b e d i e v o r g e n a n n t e n I n t e r v a l l e b i ld e n ,v e rá n de rn ih r e n P l a tz s t e t s g l e i c h z e i t i g .

X. Octaves.The pupil will profit by playing these exercises as alsothose that follow in thirds and tenths, with the necessarychanges, in other keys. The two fingers used in producingthe aforesaid intervals, must always shift simultaneously.

i .3 O Uaná nanr%

y, rr Yr rr 11<3=&

o 3o °

-9 j 0

- ? - e -n. M. S. M.

M. P. M.

A? 3 n rt n a H r± y¡ a

r l r l n f I I l - ü H r i I - 1

3 O - 3 9,

fe Vi <?3

< E Vi: V . £Le 1 » J

3- W^.^^M%%^M}m,^^^h^

rM. n p?• • '9f •

A 1#

1 * T i ' 1^ »— viM fftf c i d 4 i £ ,9— * -< IN

í Ld- m15 0



M. P. M.2'Ó

Y

^ 1 ^ r / r

M. S. M. S. m m I* *

•— ^-m6.

P = 31 K 4 \i\0t , f f í

7.

G. B.W B.

M.n 3M.9,

S.J?9.

M.

IT. r.fr L I

m.

- F F F I 0 •

9

•

— - # - •3 ^

•# -J 4-£ •

1 ^ 1

8 . 5 —I 9 i

3 ..

1 9 :

0É í £

—0

•0

E"\ 9

0 ~i« 0 "p 0 p i

Sí. s 7 " M.0- : 4 é =

w

G .B .9 3 9 1 2W B Y

? 3 ? 1 2

« » 1* ••^ r -».«— — J J T J

•ff^T o ír ^p

•=£ —* p^ "0 ~

m i lEif t- 0F 9F *0 0 mf m 0 m * ' I n 1

Û=4 v 1IHdr ssU=k±s=_=BB=

15 0



2 4

W i e s ch o u i n N ? 6 d es e r s t en ; , D a u r n e n a u f s a t z e s ; ' e r f o l g t a u c hia d e r n á c h s t e n Ü b u a g ( T a k t 7 e tc .) d i e V e r á n d e r u n g d e r D a u -m e n - La g e s t et s m i t d e r e r s t e n N o t e a u f d e r be t re f f e n d e n S a i t e , g l e ic h v i e l, o b d i e se N o te v o m D a u m e n s e lb s tgegTif f e n w i r d , o d e r n i c h t .

i- I *• 4

At bar 7 in the next exercise, the change in the thumb -position must (as before in exercise N9 6 on thumb-position)always be effected, when the first note on the respectivestring is played, whether that note be stopped by thethumb, or not.

(wechs:)

(changa)

(wechs :)

(change)

1 2 . í

1 5 0



15 0







XI. Terzen. XI. Thirds.

f 1 *i .

9 g »

uta.mi. mi. ma.

err. kl. kl. gr. ma.mi. mi. mu.gr. kl. kl. ar.

/*/ . //«. //¿/z.kl. kl. kl. ¡rr. Manila.

kl. kl. gr. §t.

«¿. mu.mi.

kl. kl. gr. kl. íw¿ ma.ma.mi. ma.ma.mi. mi.

9 9 f~9 Oí * 9

kL jr . gr-kl . gT-JT. kl.Jü.

; i o o , n . r ?

g'I'.9

* F | p p d t^Prr- M 1p p * * 1f p P P :iF" íl

2 3 a 'a 2 o 2

" a a a 'a a i la s a a

ó " 5 II *2=p:i "5!—«

S i

S %

3 ~ v «2G . B.* r 2*.

' 2 2 2 2 a a a a

a i

i

M . S. M.M. P. M.

r . ^ f t t + a9

M . S. M.M . P M.

4 . O 1

jtf.i? Jif.

i

í / f fL_ _

f~i J — 17] ,7%«

Trtí.-H » a

. ! 1

M.

Crf >rh? \ f f j |

« r [>' ^ c¿r ¿ r i j j ' j jü $1 $1 Í¡J

Vi . S c f « ——P —IIk

1

»]#g s , T= = T i• • / :

rfrg-gi r%» •

mmm - i—i1 5 0

29



Gr.B.

— mv~w • f 1 tíS s " 1 1

9

r*Pffl

T F- r ^ 9

373-1 g í F 9 f f f f -Z 2 p J LM . S . M .

M.P. M.

# ******

M . S . M -M. P. M.

3 1 2 ? 3 f a 9 3-7^94

'¿RRJ\'Í££J{U) I n 11

segué

2 9 2_9

I,

M. S . M .M. P. M.

9 2 ? P ^ j1a

9 2 ?S o 3

9

¡8 K 2

í!lf:| " II^"^•^1 " f ^ T o 2 O1 2 ? 9 ¿ 2 9 2

15 0

3 0



1 2 . n ,2 ?

ra

J E Z Z I Z

2 3 ?

1 Ü9

1 3 .

M . S.2? M.

G . B .n9 1 9 1

j i d j s j s g j j s j j j9 1 9 l 9 1 9 i 9

8 ^3 3 3 2 3 2 3 ó 3 3 3 2 3 * 3 2

1 4 . ^ B r a

1 6 . Doppeltri l ler. Double shake.9 1

9 1

-3-3-

93.

m92

( In gleicher We ise, wie vorher .)( in the same manner a s before.)

A us führung ' . Execution.9 1 9

v w w v 9 i

í

^ S i IR \ \

15 0



3 2



8 .i

n4

4 4 4

£ él Ñ Ñ

M . 4 f . S , J P . M.Jlf.

0-JL 0-0 0-0

i ; : «-0} 0r-0\

9 .

4

? 4 ? 1

? 1 / f"

s egué

i 9

54

- O -

fe

—*M.M. S.P.M . M.

( S e x t e n k o n n e n s y s t e m a t i s c h n i c h t g e üb t w e r d en , w e il s iek e i n e n b r a u c h b a r b e q u e m e n F i n g e r s a t z z u l a s s e n , u n d w e r d e nd i e s e l b e n _ v o r k o m m e n d e n F a l l s _ i m m e r n u r a i s z u f á l l i g eS o h w i e r i g k e i t b e h a n d e l t w e r d e n m ü s s e n . )

9

(Sixths cannot be practiced systematically, as theycannot be properly fingered; they must, therefore,be treated.¡wherever they oeeur/ as an exceptional difficulty¡)

A n h a n g .

a. Spri ngender Bogen.I n d e r M i t t e d e s B o g e n s ( e h e r e i n w e n i g m e h r z u m F r o s c h eh i n ) , s o w ie m i t n i c h t a n g e s p a n n t e m A r m e u n d H a n d -g e l e n k e z u s p i e l e n . B e i A u s f ü h r u n g m e h r e r e r s p ri n g en d e nN o t e n a u f e i n e n S t r i c h w i r d d i e e r s t e N o t e j e d e r d e r a r t i g e nG r u p p e e t w a s f e st e r a u f g e w o r f e n , u m d e n n o t i g e n A b -s p r u n g f ü r d i e ü b r i g e n z u e r h a l t e n .

M i t h ü p f e n d e m B o g e n .

1 7 v

Jppendix.

a. Spring-bow.Play in the middle of the. bow (rather towards the nut) withrelaxed arm and wrist. In playing several such notes inone bow, emphasise th<e first note ofeach g roup, so as toseeure the Ímpetus required to continué the spring-bowfor the remaining notes.

z~%~¡ 1p—| —ip—i • n—ip-i - i p-ip~l0-i p-|p—| p-ip-i -1 p-ip-i -i p-i0- p-ip-| - p—| 0-i 0 -0 i 0-i 0i 0i 0i p-| - 0i 00 1 0-i 0i 0i 0 -nm•

• • •• — F- MI

n .

D a s s e l b e au f d e n d r e i a n d e r e n S a i t e n .

2. n

m+0 0

3.1 .. " .. 4

1 .

15 0

33



6.

!S e e e0- 0-0 0-JL0-

0 . . .0 i „ in

- e -

i r - . rno

0 . 0 0—¡r 0 . 0

- © -

M . M.

7. v _

# * # 0 0-

• « •0 0 0 0 0 0 0 0 0 0

mn * .

8 a

n

V • • • ^ ^ H M M M Í

8 *

o*):: a

IT

ü

o — . <T*í* ' * " 0FFF

O —• •

i0 iti*

fm ' A • • •

1 J • -•!•DI r |

4 m000 -m ,T H -= • • • • »

41L-(S

- 1

9 . n

„ ^ * é " p B s H H

•

m

r¿ ^ — —

I h r l

^f f

4 J J j J J J y . — ' * • • •

1 0 . n

o 1 1 0 0 ?

9 •• m0-

11. n

o¿ > ' ¿>' i ^ ^ j \ltS^ —

1 2 . v

v ¿ y x f # y x J

i !!

150

34 r e s t e z .



13. no

M T L n t :

-i—8 -

3 9

• ? f 2 ^ 3 Z

n. m . IV .

•• • . 3

* ? 1 4

f f í r ¿ i Q — i

14 . o

-í-fe*

(93

L _

3 3 33 3 3 3

• • ti •^ m itm

3 3

3 3 ^ M p—

t?

n

• •

™ *"• •

ji irP 1

• •• •

*

éf* •

•

• • P" 1•"i

•

• • T—TiB B S — • = r =

• •

—f~f~~

• •

•

é é

• £ 3 3 9 1• •

00

f-0. ,* • •

t 0. • •• •

•

0• •

P -4 •p

•

ñ*

•t

•• 1

••

• • •

•

• • •

• J — — ' — . 7• ; l l t r

— «sÍh^h—•

• • • • 0 J * —^-1

— •

• t - o - lJ

r 1 = =*

17. n „3 3. • • • — —

. ¿ o £

i 9«—--1 » ¿ ¡í •

•"T í

• •

•

•

•

r r y0 f

•>i*"

•

^ ¿=m 1 — »

t i

M . Jlf.H 3

19. ?/• l x 9 / i ¿

15 0



o 1

1 _L

•• •

•

E l

• • Y 2

• . . i • 1

A

1 1

1 3 >

fe

L ó9 A * fe

• •

L

te• == =

2 2 . n

fe

T i l

R \ R

TWWFI 1|

4 R.

— V Í

J Ltj , | ¿ |> | '

2 2

25. n

fe

• 1• V 2 3 2 3 2 3 2 2 2 2 2 2 2 2 2 2

26 .n 4

4

150



b. Staccato.M it f e s t a n g e s p a n n t e m - A r m e z u s p ie l en , j e d e N o te

d u r e n e i n e n b e s o n d e r n D r u c k d e s e r s t e r n h e r v o r z u b r i n g e n j d a sH a n d g e l e n k b l e i b t d a b e i j e d o c h ^ f ü r d i e v o r k o m m e n d e n W e n -d u n g e n ii b er d ie S a i t e n _ b e w e g 1 i c h . A m b e q u e m s t e n (u ndd e s ha l b a m m e i s t e n ) w i r d d a s St ac c at o i m H e r a u f s t r i c h e ,a n d e r S p i t z e d e s B o g e n s a n g e w e n d e t , m o g l i c h s t n u r b i s z u rM i t t e d e s l e t z t e r n k o m m en d ; v e r e i n z e l t t r i t t e s j ed o ch au ch i mH i m m t e r s t r i c h e a u f u n d i s t e s d a h e r g e r a t e n , d i e M e h r z a h ld e r f o lg e n d e n Ü b u n g e n z u g l e i c h i n d i e se r , d i e a n g e g e b e -n e S t r i c h a r t w e c h s e l n d e n W e i s e z u s p ie l e n . B e i mE r l e r n e n d e s S t a c c a t o e m p f i e M t es s i c h n o c h , d i e e r s t e N o t e

j e d e s s t a k k i e r t é n H a u p t = T a k t t e i l e s z i e m l i c h s t a r k z u m a r k i e -r e n , d a m i t d e r D r u c k d e s A r m e s u n d d e r G r i ff d e s F i n g e r s u ms o m e h r z u s a m m e n k o m m e n m ü s s e n .

b. Staccato.

Play with the arm set, producing each note by a pressureexerted by the arm, while the wrist rem ains flexible toperform any change or turn across the strings. It is easi-est to play staccato at the tip w ith up - bow, (where it isusually played,) not continuing below the middle; it oceurs,though farely, with down-bow thepupil should, there-fore, play most of the following exercises also withdown-bow, thus varying the bowing. In learningstaccato, emphasise the first note ofeach accented división ofa bar in staccato rather sharply, so that-thepressure ofthe arm may coincide with the fall of the fingers.

2 . 1 n g l e i ch e r W e i s e , w i e v o r h e r . In the same manner as befare.

4 j f ? ? ^





3 9



T BSB9 -U m d i e e r s t e , a l l e i n i g e g r o s s e T e rz d e r n á ch s t enÜ b u n g i m Z u sa m m e n ha n g e m i t d e n ü b r i g e n k l e i -n e n p r a z i s u n d r e i n z u b e k o m m é n , is t e s n o t i g , n a c h d e rl e t z t e n T e r z v o r d e m W i e d e r h o i u n g sz e i c h e n e i n u n m e r k -l i c h W e n i g e s a b z u s e t z e n , d a m i t d e n F i n g e r n d i e M o g l i c h -k e i t g e g e b e n i s t , f ü r d e n n á c h s t e n v e r á n d e r t e n G r i f f S t e l -

In order to stop thefirst, the only major, third inthe foltow-ing exercise (N? 19) in perfect tune and rythm, make animperceptible pause after the last third be/ore the repeat,to enable the fingers to prepare for the change requiredby the next notes to be stopped.

l u n g z u n e h m e n .

19. P.

3E" ó 2 2 2

? 9 9 9

r2 2 2 3 »

2 0 ,

i

Y

i k J J , 1 < 1 -•

• • •O 2

8-i y

4 bV— •5 F

•—'S B s d

K P i 1

2 2o

2 2*

Í-|L|

21- 1 4

I2 2 . n 4 . 4

4

3

9 9 9 9 9 9 9 9 9 9 9 12 3 .

fe=s=

n4 # — *

FF TF Ff f El»

• ti •te

í : JFine .

15 0









Date post:	02-Apr-2018
Category:	Documents
Upload:	luckylicks
View:	242 times
Download:	1 times

Grutzmacher - Daily Exercises for the Cello Becker

Documents