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Hrimalv, JanScale ~s,violin143373S1 score
HieNew^ritPublic LibraryAator, Leno« and Tjiden Foundations
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y
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Hrimaly. SCALE - STUDIES Violin
SCHIRMER'S LIBRARYOF MUSICAL CLASSICS
u
Vol. 842
HRIMALYScale-Studies
For the Violin
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SCHIRMER'S LIBRARYOF MUSICAL CLASSICS
/ —
Vol. 842
J. H R I M A L Y
Scale-Studies
For the Violin
*
MUS
G. SCHIRMER, Inc.
\6,DislnbuleO bv
HAIUONARDMWUSHIHCCOIIPOOATKNI
Copyright. 1905, by G. Schirmer, Inc
Primed in lh< U. S A
IVIU<J
^Scale-Studies
C Major. Long drawn out, with full tone, and change the bow without a break.
Moderatd.
J. Hfimaly.
£4
^ ^'////
* 4
\ ^\ ^-^
^^ ^P u^—ri f
A Minor. As above.
Moderate.
^ itp tt
f if2 ^J J' i J I ^
in
3 o 9
f ^f A^ u P—n ^—ri ^F^l« E^
^^^ /^V3^::F Major. The piano must be soft but clear.
Laig-o.
iin: ^o . OL *^
BE 33: -«-331 -&-
-XX- -o-
1*
il_£»_ -e- 33= -»- 33= ^1-o- =13= -O-
D Minor. An even forte throughout. The tone strong, but not pressed.
Laig-o.
Ifea %1 e- M
I
o _£i_
fl>^ '^ t* I o =a= «--o —»-
/
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17636 XPrinted In the V. S. A.
40 LINCOLN Cr;::-i:a plaza
B\> Major. Have no break between the forte and piano.
Adag-io.m i^ F^32
/ / P f
^^ 15^ f^=^ ^=^i' / i' / p f
^m ^^/ p fG Minor. As above.
Adagfio.
^^ ^^ pE^ 321
?^~Z7
77
P ff P
iir I ^f I f I
rI
fI
f tip- II
/
^ l5>-=-TTT-
p f p f p
i ^ ^j2
/ p f p
mE? Major. Give the up-bo\v as much accent as the down-bow.
\l Andante.
f
i ^m ^^'^
# ''..f
i fif s^C Minor. As above.
Andante.
^ i I f I r
•
fe^ P17636
Af» Major. (Count two.) The quarter-note light and short, almost like an eighth.
Alia breve.^^^^ fiM- i-6^
f ^
k?d?
<»-=-
Ci^ =S-5-
J U. J'" 4^
F Minor. As above.
Alia bi "ve.
i^a ^fe ^M
I ^^>^' r
^^
Iy^ •
[> p^ 1^^Dl> Major. The quarter-note almost like an eighth.
Alia breve.
t B;^ d ti- tr'
i rr f
•
I
r f
^ ^ i&-=- ^^^B|> Minor. As above.
Alia breve.
^m^ -o^i
\^- W f^TT19-^ ^^
^tf[\ oH yfil» Major. Broad and even tone.
^ ^-<9-=- J J. -Ilj-I
Andante.
xn -^^ f I r
i^ -^^^=f^19^
f I f I^i- -11 J- I
178 a 6
6
Eb Minor. As soft as possible, holding the bow very lightly.
Andante. m rm ^^ ^i ffig^
^135
^/>
JM^^^-A^ WI
U ^ i^^ -SM- 32b
F|J Major. The quarter- note short, the accent strong.
Allegro moderato.
iife ir r r
' r ['
-«-^ m a
"/^ #—»f i
rr f iff f
irr f i rr r
ilitof
t^t« r r ra p i^^'
—p- u nrr r
1 g) 1 •
Df Minor. As above.
Allegro moderato.
^te i "r r r 't r
w/*4^ m rj m ^—1^
V"
• f3 m. -^—(»-
^ ?2=3K '
l^f f' r IHr p r I j ^J J ^B Major. The quarter-note in the same bow, and somewhat shortened.
Allegro.^mn,fXT+TTC7 lEz: I J J I
J JI P^^
a m
1% f} I r
M"J m ?ir f
if f
ir f^
w #?^^^ =g^-tf-|-7J
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J J lJi^'T^17636
G|^ Minor. Play the eighth-note the same as the quarter in the preceding exercise
Allegretto.
$a j) LJ J) I J in ^^-m A J)U J)lj j)l j i ' J ^ j ^
ws1^
ii^ p=Pf «i»—ii^
P iT T i
f Pi ff If P i^rl i'i
p=pf£
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i r P I f pl iJ' i
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j^jHjj^ij jjj j)i
^ j;«I
\
E Major.r-s' I
mAllegro ag"itato i^^
• •
p poco
C|t Minor.
Allegro ag-itato.
poco vrcsc. f poco a poco dimin. p
^ i ^ ^ap ^i Ejt; poco a poco creso. f poco a poco dimin. p
A Major.Sostenuto.
s ^^^ ^^•rfi^-J-J-ij-iM- iisPPw/
FJt Minor.Andante moderato.
••• iS*-'
^ fe^ !?• /O' fa ^^- J' ilm iie^ziiz^ XtJ
/D Major.
Tempo g-iusto
WTjjoJJiprp iKr i ^rpiprp i pH^ i J'^^'- ii j^p
B Minor.^^^^^^ J'li' J i^ l h I hll I
i2p i
pr^i^UJ'Uuj)i'
jpG Major.
Moderato.ji
Moderato ..^
. ^ P f , ff P^ ,^T^ . PT f.^
E Minor.
#-• ^ ^^
V^^-l
8
6 U'First practise these scales legato, and then play them with the bowing given below. The correct stopping of
the Sixth and Seventh is prepared by the short finger-exercise preceding each minor scale.
^ C majoru
^"
lg^l^lil^^A minor.
fifg'g a^^^^^^1=^;r ^f
F major. D minor.
B!> major. G minor.
'-i^''"J^"JllJ^l|g
E!> major. C minor.
Ab major. F minor.
i^'^'^ '^
jj]gi%iJ%H#'^ ^]m--i^m&^2 }fe
Dt» major. -^ Bt> minor.
GI? major. E\> miminor.
ji-'i^i-.^.gJrrrr i rrrrJB igl i Jt
i^'v^j'*^grrfri|^l^ i
,DJ^r|e
\^ / FH major.
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ffrri ,a- iJ'- 1'« ^h"" ^» f
D^ minor.
17636
B major. Git minor.
^%^^0i\%\0}j-
\%^S3E major
.^»i
i"»(ijj%rrir[QjJ?iJ Mfpp
CH minor. ^^^ ^^...^^^ ,„^^
A major. F^ minor.
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1'"''^
grrfirijjJf^ffri
QPQ-jjji^lij^i
D major. B minor
{. h.g \^i\MAjiii
»iinjjgji^ i
J%ijg.%HG major.
Major and Minor Scales Within the First Position.
^•] \ .yThe previous remarks are a sufficient guide for practice.
^m^i-
^m^^-f '^
^j!;ffjtffl-Ckgriga-:;Q.j:g^:ii.j3^^Cc;[!^:ii j^
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ih^^
17836
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p^^^^^^^^^^^^phS''}0^^^^ ^ \[::^m^n
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40 LINCOLN CENl-EH PLA.- .
KEV/yORK. NY 10023
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12
N91.
Major Scales Beginning with the First Finger.
Scales without changing position.
"^ 1st Position.
'I
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jggij# i
''°i jJwPl
4 ^ 4 ^
2nd Pos.
^;pg^^ i^%*jgtr-a i]jg^ra
3rd Pos.
^^g^lI)
^^ 4th Pos.
/^^^p p-'Di i arrroj^
^%#W IJg%
17 37
^^-fil- »
m
n?
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zr
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5 th Pos.
rp^flJrtftTTf^
i JJ^rJ^
Ph'n:^^f^m- H^ nJ P P_> i nil* pv n I
22:
7th Pos
\
N9 2.
Minor Scales Beginning with the First Finger.
\h^ The accents well marked. The first four bowings with the upper half of the bow.
1st Pos.
>^-^ o^
f?
2nd Pos
ai^r^Jiji'^^'^JijA
17636
14
At the point and very short and dry.
Martflle
jr^-^j ijfo-iii
Ji
The first note sharp and short.
3rd Pos.
^P^^^^^\v With half of the bow, a short pause after the third note, and make the last note sharply staccato.
With a brisker style of bowing.
4th Pos
'^-Sfl-J3J#^CQ>IJ^^t-Q—
zr
5th Pos.^^Nut Point N"* Point
Nut
ibow Point, softly %bow Nu*^yWSS^^'ii^ -&—G-
\1^y„jJ^
Accents well marked. Lively style.
6th Pos.
$^f.>
'C^%B#p[c-lJ^^in:
i^if^
Middle Point
The detached notes energetically.
7th Pos. . r:^t|itte?
mfimi imifji rj,
'i^
t7b.16
N9 3.
Major Scales Beginning with the Second Finger.
15
|?>:pj?;i^iSr^^i^^^ _ p
mmfWO
3ra Pes
4th Pos.
'
f.^-^^ tjiPrcrtrf^li
jJr0trr^:|
l^ij II
. »'f ^ ^—^
^^^I'll jj:iiffaiirrrr|rffrrii|^j^ i j^ffmt^ijftF^^f'u^ fflJ3S^
f l
l^^^q^^';cfl-Jipi
i-M£^iM^^;cfl^iL[.Prrr\#gm
^r // - - p- ^ ^ f- -_ ^>^ P-^J^-^^'
6ft Pos
7th Pos.
I^'lh^^^
:cq-^:ii
:jfrrnTr[r^i^r^^
p- - f- - p- -f- - p- -
17636
IB N9 4.Minor Scales Beginning with the Second Finger
Softly, near the finger-board. -_
1^^^^In the middle of the bow, rather briskly. Springing bow.
Sautillc- _ ..^
'S^ iM^\
ji-i^ (3rd Fos.Very light staccato.
^i00Mii!ij^i zi—
ZJ
4th PosThe rhythm must be well marked and all the notes shor.t.
^'mp.-^-g !^[^ 'IIfi«
Si
17636
Use nearly the whole bow, and sustain each note.17
5th Pos. Grand Detache m t
Very slowly
fii'irT^^irrr ^^ «rJ ri
More bow as the rrescendo increases6th Pos. Middle of the bow.
2
1st Position
N9 5.
Major Scales Commencing with the Third Finger,- and the Study of the Staccato.44 4 4
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NiJrrffr^iJ?fjr^^
17636
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4 4
r)th Pos. n
44.
^m44
7th Pos. >f^
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nn
^
17636
19Scales and broken thirds on one string for practice in changing positions.
The left hand must be held quite at ease, with the thumb \ery flexible. Execute each change of position
with precision. Alternation between the 1st, 3d and 5th Positions.
N9 2.
N03 N?4.
Alternation between the 2d, 4th and 6th Positions.
-,ri rr /^ . N9 2.
20
N9 4.
J "I'jiir^i^
Alternation between the 3d, 5th and 7th Positions.
N9 2.
f 1 — —-^ « :*VT
t .j:? r[ir i rxfrJ^ I'
i i i^ciJ crrr i Lrr.^^TIII.
i"iN.rrirrrff |^frjm ,;^»iiiifrr;crrrrfff | tgftffrfffpII.
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ai i2 4
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ft»f£^i-iese
NO 7.
A Major and Minor Scales and Arpeggios in Two Octaves, Changing Positions.*^
V/
21
^W
ite% fffei
^'^fOT e:
f
^ --
ii , 1 W^V ^ - '^ TTT
- ^^ji'^ ^f
*) First practise each of these scales Icgnti,^ then the bowings marked below, and shading, should be practised.
176 3«
I' I I
-
[fpd
p'\\--0 d ^^
detache
^^^^^idetache
martelle
f-'U|
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martelle
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(^Springing bow)
Sautille
^^III
z g^ ^
«^''i^'' rTj j ^
(fg^'Vh. I |: i ^fe.2
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17636
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"'' 27
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Iv> ^/ N? 8.
Further Changing of Positions in Exercises on One String.
Connection of the 1st with 3rd, 5th and 7th positions.
K^-.—:—T r : : . -
IvTr- . ^ - -
J^iJ33J3Sj
Note: Begin these exercises in slow tempo and gradually increase to Alh'^rii rirure. Impure intonation and unevennessehontd be the best hint to teacher and pupil to return to a slower pace.
I7ti3n
28
'j!!]I!^M
Practise the following exercises on the other three strings also, in the same manner.
^^J.J • J fT
'^p^M^i^^mw \jpjfi^^
m^^•Ji*i* f "L• •y*i,^« -r
IV.
^^^^^ffi «u J]J«
Connection of the 2d, 4fh, bth and 8th positions. Also in F, C and G major on the D, A and E-strings.
17636
29
,fi
' ' ^™WT7:'roi m^ i }:TOjjjjj]jjj^
•JS3JS^I^J^,
Connection of the 3rd, 5th, 7th and 9th positions. Also on the D, A and E-strings, in G, D and A major.
3
4 rf^FUrmi!^^ m^Connection of the 3rd, 4th, 5th, Hth, 7th, 8th, 9t}i and 10th positions.
i f^m.^^m.mrrrrrrrrrrrrrrrrrrrrrrr^^
17636
"""™lw«ss^E~
30 N9 9.
Changing Fingers on One Tone. '
These exercises, like those preceding,are to be played on all the strings.
IV-
$ SfST^fff*?**--OOP a ^ o r, ^ ^ ^ m M 1^ P J^ l J]?4 8 .*
Jt^f^^i"'
^jU*-^ 'tilFttlJ 'tJ^jj#J "^iji^ii^^'-igt^^J"8 8 B 8
a 8 a s??**-^^
^ » 3 a a
-»-^1 4
IVScales through two octaves on one string.
Ihe same tingering. ^
.^Tt 9. j^ -^^....^
As before
*)Note: Do not neglect this seemingly unimportant exercise, the peculiar usefulness of which consists in changing fingerson one tone.
17636
31
After learning the foregoing, the following 3- octave scales will harjjly offer the pupil any difficulties? but he
should not neglect some good advice with regard to them. Usually it is the third octave(i.e., the highest) which pre-
sents difficulties. In order to save time, and enable his undivided attention to be given to the intonation, the pupil
should practise the third octave by itself as directed below. The minor scales in particular, with their raised Hth
and 7th in ascending and lowered 6th and 7th in descending, are those which give pupils trouble; and to their in-
tonation special attention should be paid by the teacher.
The fingerings are, of course, the same as those employed in the full 3-octave scales.
^k^^flt t^^hi^l
17636
-<rr.?=^:^ A*i^ff^i i^
tf^
17636
N9 10. sa
The scales through three octaves are to be played in every tempo from Andante to Vivace, and with every
kind of bowing. The bowings are to be copied from Nos. 2, 4 and 5.
^^ ^^^ rr r frj- i
i^^ji
f' 'J
Jffl^iiE£fl' ^^:n^i
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ScHiRMER's Libraryof Musical Classics
METHODS. STUDIES. EXERCISES AND PIECESFOR VIOLIN SOLO
SERIES ONE
ALARD, D.
h*|i'»wwi(>:!r^'^
