MAT/.

IAHONSON

B O O KO N E

a c o n c i s et w o - v o l u m e d i t i o no f t h e
i n t e r n a t i o n a l lf ya m o u sm e t h o db Y
R U D O L FM A T Z
P r o f e s s oor f C e l l o ,A c a d e m yo f M u s i c ,
Z a g r e b ,Y u g o s l a v i a
c o m p i l e da n d t r a n s l a t e db Y
LEVARONSON
P r o f e s s oor f C e l l o ,B a y l o rU n i v e r s i t y
edited bY
M A R T I NS . S I L V E R B E R G

P R E F A C EB Y C N E I O N P I A T I G O R S K Y

fiUL Ti'iOi'li.,: I i-'-r; jil i-\' Li'jRAR?

-"::ci..l, -,' i';'r ir ri,''-)re.)
{[-i:rrr,, :r

t A MU S T C a gee n tsA LEXANDER

C O R p OR A T ION /sol lNC.,225W est57 Str eet,Ne w Yor k ,N .Y. 1001
BROUDE,
 CONTENTS

Foreword

Preface

Introduction.
in this Book
A. Glossary of Terms and Symbols Used
Basic String and Finger Designations
Bowing I n d i c a t i o ns
PJucking a n d "Petcussion" Indications
Patts of the Bow
SomeCombtnationsofthePreviousSignandNumberSqnbofs
Fingering and String Sgmbols
B. Correct PlaYing P o s i t i o n '
Positioning t h e C e f f o
GtasPing the Bow
The Position of the Left Hand
D . How to Practice

BOOK CD{E/ PARI CD{E

Fjrst StePs

f Bo,.ling Ctrarrgjng Strings on a Bcx,.rStro]<e

ftapter Qen-String
- Preparatory Exercises ' 6
Separate Bowings
PJacing the Bow on String II
Bowings on Stting III
Sjmul, taneous Bowings on Strings II and III

c}-ranging ard connecting Bcx,vstrokes I

chrapter 2

Preparatory Exercise for Changing Bows 8

A.
- Detache - Legato 9
B. Exercises f o r connected Bowings
An Exercise f o r C o m p a r a t i v e A m o u n t s o f B o w M o v e m ent 10
C.
Constant-Speed B o w i n g s w i t h t h e S a m e P a r t o f t h e Bow' 10
D.

Ctrapter 3 Constint-Speed Borings with the Sare Parb of the

in Qen-string Double StoPs 11

for tlre EasY Ctranging frcm string to String L2

Chapter D<ercises

D<ercises on One String T4

Cttapter Half-Step

on the Fingerboard 14
Placing the Fingers

J. -1.1

rt{ARI r9i6
 E><ercises with Half Notes on T\lo Successive Strinqs I5

The Clarification of Intonation

through Left-Hand Percussion Strokes, Attacks
arrd Pizzicati (the pnwer coming aJwags through the knuckles) 16

Chapter E<ercises for Finger Dexberity L7

Chapter Intonation E:<ercises Usilg an Adjacent Open String 19

Chapter IO Dcercises in Conir:nct Scal-es, Skips and Arpeggios 2I

A. Conjunct Movement. j-n Quadruple M a l - a r 2L

B. Movement in Skips of Thirds ZJ
C. I4ovement in Skips of Fourths. 24
D. Movement in Skips of Sixths 24
E. Movement rn Arpeggiated Chords and Chromatic Scales 25

Chapter l 1 Bc,v'Ied Etrdes in O:arter Notes 29

Chapter L2 Shifting Fingers on a String. 37

A. First-Finger Glissando shifts: whoLe- and Hal^f-step l"Iovements

Up and Down Individual- Strings 37
B. First-Finger Glissando Shifts: Skips of Uajor and Minor Thirds 40
C. Perfect-Fourth Glissando Shifts Employing the First and Fourth Fingers 4I
D. Shifts of an Augrmented Fourth or a Diminished Fifth 42
E. Finger Substitutions on the Same Note 42
*rapter 13 Basic Fingerthanging Processes
for the Independence of Filger Action 45
A. Preliminary Exercises /1tr.
Preliminary Exercises for Alternating Groups of Fingers
on Two Strings
46
Exercises in which a Finger is Moved from One String
to the Same Place on an Adjacent String
47
n Exercises where Two Fingers Change place
(The fingers "dance a polka,) 48
E. Shifting Two Fingers Up and Down T w o S t r i n g s . 48
(a) Chromatic l4ajor S:xths jn P a r r s
(b) Chromatic Majot Sixths
(c) Chromatic Perfect Fourths
(d) Augmented Fourths

Grapter 14 D<ercises in Plasticity and Flexibility

of Fingering and Bo,,ring 49
Postsctipt: The Tenor and TrebLe CLefs
53
Eleven Pieces for CeIIo ard piarp
54
lVocturne / SoLemn pteLude / Melodg / Duet
Minuet/Romance/Basso Continuo Sunng Dag
/
A FoJk Song / SaLtarel-Lo / The Wind Scouring the Fiel_ds

iv
 r{pK (,[,lil / PARL' Tv{)
The Studg of GLissando shifts, Stretches and Positions

Ctranges. 64
Chapter 15 Stretch and Position

and Positions &

The Study of Stretches
&
Early Concepts of Cello Fingering
The Problems of Enharmonic Notatron.
65
T h e P r o b l e m s o f Hand Movement 65
The Importance o f t h e S e c o n d Fingerr/Thumb Axj-s 66
66
Forearm Angle and Motion
66
Hand Extensions
66
A FinaL Word

(or Slide) 67
Chapter l6 The Glissando

Chapter L7 Shifting fron the First to the Fourth Position

69
by l4eans of an OPen String

Chapter IB Shifting frcrn ttre First to the Fourth Position

7L
bv Iuleansof the Glissando
71
A . Finishing the Shift with the Same Finger'
Fingers 72
B . Shifts Emptoying Different
Shifting ftom a Lower Finger in the Lower Position
tz an upper Finger in the Higher posttton, and vice versa;
Shifting from an Upper Finger in the Lower Position
to a Lower Finger in the HiQher Position, and vice versa

Chapter 19 The Si en Possible Glissandl on Orre String

from the First to tlre For:rth Position 74
when shifting

Chapter 20 rcises for Elbcnv FlexibilitY

Glissando Shifts 75
Using First-to-Fourth-Position
SLdfts 75
Chapter 2I D<ercises for Correct Finger Posture dr:ring Position

Relationships between the First and Fourth Position

of PJaging Certain Notes) 77
(DoubJe PossibiLities

7A
Chap@r 22 Tlre HaIf Position
Positions 79
Chapter 23 TLre First and the Raised (or D<tended) First

Positions 79
A. The Close and open First
Exercises for Shifting from the C f o s e F i r s t
to the O P e n F i r s t Position
F i r s t Position a2
B. The Raised o r E x t e n d e d

and tlre Raised (or Dcterrded) Seccnd Positions 83

Chapter 24 The Close

The Close and tlre Raised (or Elcterded) TtLird Positions 85

Chapter 25
85
A. The Close Third Position.
Position 87
B. The Raised or Extended Third

v
Orapter 26 Shifting from the Close Thid
to the Open Fotrrth Position and Back Again

Expanding and Contracting Stretches 88

A Shifting Position while Afternately
R A Preparatory Exercise for a Whole-Tone Shi.ft
without Expanding the Stretch between the First and second Fingers
Expanding the stretch between the Fj-rst and s e c o n d Fingers
while Alternately Shifting the Second and Fourth Fingers a whofe Tone
D . A Preparatory Exercise for Shifting the Entire Hand a Whole Tone
rL .r rhr vrs nY rrr r c h E ' i n o e r s u b s t i t u t i o n s on the Same Notes
89
without Expanding the Usuaf Stretch
Expanding the stretch between the First and second Fj-ngers
while Shifting Position by Alternately Substituting the Second Finger
or the Fourth Finger for the Second on the Same Notes ' ' 89
for the Frrst
F' Shifling Position and Expanding the Usual Stretch
by obliquely Dropping the First or Fourth Finger a Half or Whole Tone
or Lower 89
Higher

Chrapter 27 shr-ifting frorn the For:rttr into the naised Third Position'
and Back Aqain, through Finger Sl-ides, Substitutions
and Stretches 90

Various Shifts between Two Strt-ngs

Chapter 28 Thre Close and Open Fourth Positions 92

A. The Close Fourth Position

R chi
v r r r r
f + ie r r ^ n
J
a frnm l.ha Anon F i rqf Position into the Close Fourth Position. 93
(a) with the Same Finger
(b) from the Lower to the tJpper Finger
(c) from the Upper to the Lower Finget
C. Shifting from the Close First Position i n t o the Open
Lowered Fourth Position 94
(a) with the Same Finger
(b) from the Lower to the Upper Finger
(c) from the tlpper to the Lower Finget
D. Exercises in Shifting from the Raised First Position
to the Close Fourth Position on the S e c o n d S tring 95
Further Exercises in Shifting from t h e o p e n F irst Position
to the Close Fourth Position.
(a) with the Same Finger
(b) from the Lower to the Upper Finget
(c) from the upper to the Lowet Finger
F. The Open Fourth Position 98
G. Exercises in Shifting from the Close First Position
to the Open Fourth Position on the Second String 99
H. Exercises in Shifting from the Close First Position
to the Open Fourth Position on the First String ]00
(a) with the Same Finger
(b) from the r,ower to the UPper Finger
(c) fron the Upper to the l-pwet Finger
I. Further Exercises in Shifting from the open First Position
to the Open Fourth Position . . 101
(a) with the Same Finger
(b) from the Lower to the Upper Finget
(e) fram tb Llep.t th tl?[ Iovct Finget

vi
 ol the First
J. Exercises for Transferring the Close and Open Stretches
P o s i t i o n . IUJ
into the F o u r t h
or Fourth Finger from the First t04
Variations o n t h e P r e v i o u s E x e r c i ses '
P o s ition
r05
L . Various S h i f t s t o t h e F o u r t h
I07
M The Raised F o u r t h P o s i t i o n
N . Changing from the Close Fourth
Position
P o s i t i o n
t0B
to the OPen R a i s e d F o u r t h

BOOK ONE / PARI THRffi

The upper Positions and their Approach
through F inger-Extension Changes

beb^,een the Fourth ard tlle "octaveil Positions . r09

Chapter 29 T/te RelationstLip

A 'r'ne C l o s e , o p e n a n d E x t e n d e d " o c t a v e " Positions . 109

and "Octave" Positions . tll
B. Some R e l a t i o n s h i p s between the Fourth

Preparatory D<ercises for the Correct Placenent

Chapter JU
. LL2
of tLte left l{ard in "@tave" Position

rcises Hrploying the FourLh Finger . 114

d:apter 3I Extension

Chapter JZ Exercises for Extension Changes

tlre Second and Thr-ird Fingers r15
betwebn

Shifting ure First Finger while Keeping a Whole-Tone Stretcht

Chapter 33
between Fingers T\no and Three L20

Chapter 34 octave Leaps Using an Internediate l4ajor or i{inor si}rth

L2I
as a Bnidge

for Octave-Leap Security L22

Ctrapter 35 Exercises

dnapter 36 Simultaneous Position and String Changes,

Soneti-nes Using Octave Leaps - L23

Further variations combining the Lower and upper Positions. . L28

Ctrapter 37 stretch Extensions between Fingers to tlre Interval of a Fourth

on tfe Sane or Different Strings .13r

Chapter 38 D<ercises in Playing CLrronatic Scales and Ar?eggios

on the Diminished Seventtr Grord r34

Pieces for Cello ald Pialo (Book One / Patt One: P 5 4 ) 137
Cello Parb for Eleven

Contents of Ttre Ccnplete 99f8, Bod< tho L42

vll
 FOREI^DRD

or privately, or at
when cello teachers get together at conventions,
p r o m i n e n t i n c o n v e r s a t i o n r s
master-class sesSionS, the question most
new be-
,,what teachrng material are you using?" - or, "IS there something
'new editions' o f t h e t w e n t y - f i v e -year-
ing published besi-de the so-caLled
old methods?"

and progressive
The fact rs that nothing new has been brought out,
editions are almosL nonexistent' Most methods
exercises in authoritative
gj.veslightrmportanceLothefundamentalsandoftenjumptheStudentto
fL ll l-s ' a !€v un! r r r ur1lr' r ynv uo: q i t !i o n with hardly any preparatory material' In spite of
this, the poputarity of the cel-lo has grown steadi-Iy'

etudes and scales by

A year or so ago someone brought me a book of
Aiter looking it over carefully, I became more and more in-
Rudolf Matz.
in what his meth-
terested both in what this wonderful man had to say and
I asked questiOns about
od meant for a new generation of ceLto students.
of the man and his whereabouts for I felt I must see him, talk
the origin
thirty-one volumes listed on the
with him, and examine the additional,
f the book I had. Eventual-Iy 1 discovered that Rudolf Matz
back page
Yugoslavia'
was a prof ssor of cello at the Academy of Music in Zagreb,
- we met and became t h e best of
It did not take me long to fly there
friends.

professor Matz's IoveIy personality, his dedicaLion to music and to

and his kind,ness and simplicity made me rEafize that here
his rnstrument,
great human being
was not only a wonderful musician and pedagogue but a
prob-
as weII. We tal-ked for days about cello methods and the present-day
f i L l an-
lems of technique, and we exchanged thoughts and ideas enough to
other th:.rty-two volumesl I was determined to make his works known in the
condense his great trea-
United States, and we finaLLy agreed that I should
from open-strlng
tise into two volumes which were to progress step-by-step
playing Lo the leveL of virtuosity. T h i s I h a v e t r i e d t o d o'

will benefit
It is my earnest hope that teachers and students alike
And now when teachers g a t h e r t o d i s c u s s L h e p r o b l e ms of
from the work.
teaching materral, the answer can be in t h e a f f i r m a t i v e : s o m e t h i n g new
iras been published!

I dedicate this condensation to my beloved teacher and friend' Gregor

to whom I .rm eternally indebted for his influence and f,or the
Piatigorsky,
guidance and insplration which he has given me over many years.

Lev Aronson

VJTT
 PREFAG

technique that is both

There has long been a need for a study of cello
comprehensive and detailed. Professor Matz, in his thirty-two-volume
a spect of the fundamentals of cello technique'
original, has covered every
the etudes b a s e d o n t h o s e c h a p t e r s , t he ex-
The chapters for beginners,
of the sixteen basic finger-changing p a t t e r n s , t h e p r e p a ratory
planation
for scales, the scales themselves, t h e t h u m b p o s i t i o n , t he right-
exercises
hand exercl-ses - all should be of g r e a t benefit t o c e l l i s t s .

is due to Mr. Lev Aronson, not only for extracting a

Great credit
practical digest from these volumes but also for amplifying P r o f e s s o r
of each successive problem through detailed explanations
t'llatz's analysis
and much new material of his own devising'

this digest into seven progressive parts,

Mr. Aronson has divided
each chapter into its proper niche in the logical continuity of
placing
to virtuoso technique. His t r a n s l a t i o n s are
development from open strings
erudition
cfear and conci-se and the text has gained much through his own
and experience.

This book should be welcomed by every student and teacher. I arn cer-
tain it will take its Place among t h e f i n e s t i n i t s field.

Gregor

ax
 I}fIRODUSIION

in this Book
A. Glossary of Terms and Synrbols Used

Basic string and Finger Designattons:

= first string (tuned to A)

r
= second string (tuned to D)
II
= third string (tuned to G)
IIr
= fourth string (tuned to C)
rv

open string
L = first finger
2 = second finger
3 = third finger
Q - fourth finger
= thumb
Q
designated Position until
ot etc. = To be plaYed in the
@ @ line stops.
the horizontal

Bowing Indications:

arco To be PIaYed with the bow'

n down bow (in which the bw arm js movd awag

horizontaTTg towatds the right) '
fton the bdy

which the bw arrn is movd tovards

V up bow (in
the bilg hotizontaTTg towatds the left) '
"-ri ""ro"s
.nv' To be practiced with up and down bowings'

rr-n To be successively
strings.
practiced on all four

ll To break or interrupt the tone for an instant'

s = To separate two or more notes without inter-

ruption of the tone. (This is an integral
part of Phrasing.)

Plucking and "Percussion" Indications:

= The pizzicato. To ptuck a string with the

PLzz.
fingers of the right hand.

pizz.+ ot +pLzz. = To pluck a string with a finger of the left

hand. (This technique is useful for percus-
sive attacks in slow tempi.)
 a note ' this means
When placed over or under - that rs'
lo ptla,l"" that tone by percussion
finger of the l e f t hand as a
a; ;"" a specific
t l d-:l:l-
s tnot nr o, l l eddr o p p i n g i t p e r p e n d i c u l a r l y
'pci o
p l i a n t l y , a specl-
force, yet Ypot
(The purpose o f t h i s p r o c e dure
ii"a =ating.
s t r e n g t h ' f i n g e r alert-
is to develop *""""-lut pas-
of r e s p o n s e i n r u n n i n g
,r.s" .nd clarity f a l l in
will have to
sages where the fingers p l a y -
rhythm' I n
an absolutely metronomical d i f -
approach i s
ing cantilena passages ' the
o n e f i n g e r t a k e s over from the pre-
i.i""a:
vious one in a legato motion')

Parts of the Bow:

OT
E = To be plaYed at the frog '

the middle of the bow'

[-] = To be PlaYed with
l - l

ot
E I =
= To be PlaYed wj-th the tiP

To be PlaYed with the whole bow'

of the bow'

I
of the bow'
To be played wi-th one-half
2
one-quarter of the bow'
1
I -
-
To be played with
7
with one-eighth of the bow'
] = To be played
I

of the Previous Sign and Num'ber SgmboJs:

Some Combinations
t = with the lower half of the bow'
To be played
z
I ---------l
= with the fourth of the bow about
: l - | To be played
4 1 - l
its middle.

I. = To be played with the eighth of the bow at the

I tip.
- such as: L* -
* = The asterisk after a fraction
these
indicates chat the exercise to which
p r a c t i c e d t h r e e times:
slmbols refer is to be
f r a c t i o n o f t h e b o w near-
once each with that
the middte' and at the tip'
est the frog, about

Fingering and Str ing Sgmbols:

t-l
= To place both specified fingers simultaneously
,rpo-n . string. (this procedure can be used to
llj
anticipate the production of percussion tones
by other fingers.)

= specified in that portion of the

The finger
( h e r e ' "1") j o ins the
box offset to the right
( h e r e ' " 2 ' 3 ' 4") on
other specified fingers
the string as soon as Possible '
 placed on the
The lowest finger in the box is
t o its left
string sper:ified by the symbol
outside the box; si-milarly, the o t h er fingers
t h e string
are placed simuLtaneously upon
rpu.ifi.d to their left. A s t r i n g symbor con-
t-rols aII specified f i n g e r s t o i t s right and
in downward l i s t i n g u n t i l t h e n e x t string sym-
bot aPPears b e l o w i t .

B-- = Tn hi neg f ionfg etrh e s hp oe rciizf ioendt a l i n l itnhee

box at the begrn-
remains on a spec-
ified string f o r t h e d u r a t i o n of that fine and
unti-l- the arrowhead terminates it'

it ob-
To raise the specified finger and drop
Iiquely but with a rai-sed a t t a c k i n g m o t i on in-
p i s t o n - l i k e d i r e c t n e s s o r with
stead of with a
a glissando movement o n a n a d j a c e n t s t r l n g
from a preceding higher or lower hal-f-tone '
stretch"
This action creates a whole-tone "open
finqer and a p r e v l ous
between the specified
u s e f u l in
cne. (This action is particularly
changes from closed to open positions w h e re
the "feef" for accurate stretch a n d p o s i t i o n
changes is first develoPed')

"oPen stretch" ex-

1++ 2 Indicates that a whole-tone
of t h e l e f t h a n d:
ists between any two fingers

{<-+3 1 j +

numbers or
L/2 l--\2 A diagonal- tine between two finger
the
two notes denotes a glissando running in
direction of that 1ine. This technique i s
generally used in the higher positions because
of tn" smaller distances b e t w e e n a n y t w o tones '
t o t h e l e g a t o f e e l i n g be-
where it contributes
H o w e v e r , i t c a n a l s o b e u s ed in
tween notes.
the l o w e r p o s i t i o n s t o f a c i l i t a t e m o v e m e nt
across strings, in four-note patterns' or in
the thumb position on
octaves; in the latter,
the fingerboard is also used '

Efl= This indicates that the thumb is to maintain

its position upon a string for the duratj-on of
the space between these slzmbols '
) d

Correct Posieion of the thmlc at the frog

:'i

Correct Position of the bo,v on the cello

3c

Posilion of the hand with the bor at rnidpoint

Posilion of tlre boP at the Point

Position at tlre frog

B. Correct PlaYing Position
about the correct playing. po-
Something should be said at thi-s point
position of the shoulder' t h e arm' tne
sition of the ce11o, the correct
o f t h e bow' as
hand and the fingers, the grasp of the bow and the balance
of the left hand on the ceflo n e c k '
wel-] as the Position

Positioning xhe CeJ-l"o:

the end
The basrc position of the cello should be as it was before
pinwasinvented.Thenaturalwaytopositionthecelloistotakethe the
Lnd pin down until it touches
cello belween the knees and sl-ide the
f l o o r . T h e c o r r e c t p o s i t i o n o f t h e i n s t r u m e n t w i l l d e t e r m i n e t h e c o r r e fcl et x i b l e wrngs
be like the two
osition of both hands and arms, which wiII
fabird.Flands'armsandshouldersshouldcontainasubtle,thoughnot
suddenorbroken'curvethroughout.Thedirectionofthebowwi]-1then
determine the ]ie of the hand '

Grasping the Bow:

Thecorrectgraspofthebowcanbeobtainedinthismanner.Palm
of the right hand so that they
down, oppose the thumb ancl midd'l-e finger
'i'r'{- +'nrrch n o w b e w o r k e d i n a n d o u t a t t h e first
rhFse fingers c a n
joined tips seem like the head of a strikins snake'
l;il.'=;';r.,..'li"ir
witntr,.bowtiptowardsthestudent'sleft,thefrogofthebowcannow
the frog is held at the
be introduced between them in such a manner that
littlehillonitscurvewiththerightsideofthethurnbbetweenthe
perfectly
nail and the ffesh. It wiII be found that the bow can be held
f i n g e r s '
balanced in this manner by just these two

Now,thethirdandfourthfingersshouldbeplacednexttothemid-
so
dle one on the frog. The hand should then be revolved about the wrist
thatthebowtrpmakesaha}fcirclefromthelefttotherightsideof
thestudentandthepalmofthehandisfacingupward.Toinsurethebow
finger is then placed on the frog "lightly apart"
from falring, the first
fromtheothersandsubt}yarched.Thefingersatthispointwil}be
seen to be in
,'respectful relation" to each other - that is, with equal
grasping weight.

The hand is then revolved back to its original downward facing po-
sition, the wrist is raised a bit, the forearm is turned to the Ieft and
' As the student
the weight of the bow is applied against the string
guides the bow by alternately pushing and pulling it with the finger tips '
of the thumb gradually changes ' rn a
it wilr be seen lnut tnu position
with its ball opposed to that
down bow, the thumb becomes almost straight
In an up bow, the thumb gradually approaches its
of the middle finger.
position where its tip again comes into opposition to that of
starting
the mi-ddle f inger-

Thepurposeofthefingersonthefrogisnotonlytoholdthebow.
tips touch the frog, the fingers renain free enough
since only the finger
they control the bow. To repeat, in
to perform another i:nportant duty:
tips pull the bow; in up bow' they push' Thus' the
down bow, the finger
fi_nger tips "play', the bow, as one woufd "Playt'a fishing rodr so that
the bow becomes a "live" instn:nent in the student's hand. He controls
directs it, manipulates it, channels its rnoveurent and works in tan-
it,
dem wj-th it. Thus, one could say that there are two instruments involved
in playing the cello: the cello and ttre bow.
 Cnrror.t rnsition of the tht:mlc

Incorrect position of the thumb

. q ,
 of tte Left Hand
Cl. The Position

T h e c o r r e c t p l a c e m e n t o f t h e l e f t h a n d o n t h e f i n g e r b o a r d c a an gbaei no b -o p p o s e t h e
manner. As with the right hand,
tained in the fotlowing
thumbandmiddlefj-ngerofthelefthandsothattheyjusttouch,butthis
time].etthemiddlefingertiptouchtheleftcornerofthethumb.AgalnI
t h e o p p o s i n g f i n g e r s c a n b e f - r e e l y w o r k e d i n a n d o u t . T h e u p pa se r aa r fm u li' cs r u m ' the
away from the body. using the erbow
then raised a bit
handinitsopposedfj.ngerplacementcanbeSwunginanarcsothatthe
fingertipsjusttouchthestudent,smouth.Now,movetheforearmback
halfthelengthofthearc,turnitslighllytotheleft,slightlyarch
thewrist,andinsertthecelfoneckbetweentheopposingfingerssothat
onlythefingertipstouchthestrings.!.]hencorrectlyplaced,thefin-
g e r s a p p e a r o n t h e D S t r i n g i n a s u b t l y c u r v e d m a n n e r a n d a t a p r o p e r d tihse- p u p i l ) '
(the Leacher should demonstrate this to
tance from each other
Thestudentwillfindthattheleftcornerofthethumbasitleans
againstthebackofthecelloneckisnatura}Iyopposedtothemiddlefin-

up and down the fingerboard is

what should occur as the hand moves
a f r e e a c t i o n o f t h e f i n g e r s r a t h e r t h a n a c o n v u l s i v e g r i p . , t h e fti n
h quem
r sb above it
ad.ditionar support to the
shoul_d never be used ao !i,r"
b y p r e s i n g a g a i n s t t h e n e c x . R a t h e r , t h e f i n g e r s s h o u l d a l w a tyhsem ok nv uec k l e s of
of power whose "focus" is through
from a concentration
thehadinadirectrinetothefingerboard.Everythingaboutthehand
revo]-vsaroundthiscenterofpower.Everythingisconcentrationof
powerandofsound.Ifpowerisrerttogothroughthehandinthisway'
fall into its correct lie '
the hand will- more naturally

Fingersareneverplacedindividuallyonthefj-ngerboardorona
string.Theyalways=.,ppo'teachother.Fingerlissupportedbythe
2 is supported by I' etc'
thumb, finger

Fromthebeginnrng,thestudentshould'alsoimagineandfeelthat
place rn the fingerboard. The board
each note has its own distinct
should.notbeablankplanebutshouldbethoughtofashavingholesin
itforeachtone-andthefingersshouldbeabletofitexactlyinto
wilr rapidry develop a rapport between the
each one. such a procedure
student and his instrument'

D. tbd to Practice

OrganizedpracticingisthefirststeptoSuccess.Thestudent
s h o u t d f i r s t a p p r o a c h t h e a c t u a l p h y s i c a l s i d e o f p r a c t i c e c o n s t r u tchtei v ep o
l ys i t i o n
and intelligently. He should check his posture as he sits '
of the anstrurnent in relation to his body and hands; notice should be
the shoulder blades' the
taken that the shoulder muscles' those behind
fingers of the left hand, i-ts thumb o n t h e c e l ] .o neck' and the right thumb
onthebowfrogarerelaxedbut.,aware,'_infact,thestudentshou]-dtake
advantageofeverythingthatwi-llhelphimtoachievethebestresultsin
theshortesttime.Heshouldrememberthattensionisasmuchthehin_
d r a n c e t o p r o g r e s s a n d t h e c a u s e o f d i s c o r d a s t h e f r e e a n d d y n a m i c c o o r - con-
Thus' the ideal
dination of all performing elements is its helpmeet'
.i" complete relaxation of the body in tandem
ditions for perform..".
with alertness in the fingers of both hands'

TheotherpartoforganizedpractJ-cingisanimaginativeapproachto
aII musical problems. Th; studenl should study technique analytically
to say and how he wants
and should know ahead of performance what he wants
tosayit.Inthis'^y,*h.thehaslearnedwillalwaysserveaSthe
goals will ever be Clear
foundation for what he has yet to learn and his
before him.
 PART O}TE

FTRST STEPS

GAPIER I

OPEN-SIRING BCTilNG - CHA}{GNG SITRT}GSON A BCT{STROKE

Bcxrings PreParatory Exercises

Separate
II:
PTacing the Bow on SXring
thettu-
the center of the instrument'
since strings II and III are
dentwillfindtnatthemiddleofthebowcanbeplacedonthes.estrings

achieves the transfer of arm and shoulder

most naturally, at first'
weight through the bow'

places the bow on string II,

exercises' the pupil
rn the followinq

at the niddle '

_

/a
and at the tiP.
J
#
/a
is represented by
( E a c h o f t h e s e pictures of bow placement on string
explained and used in Chapter 2')
a syrnbol which wilL t. pt."".rted,

Thefirstexerciseistobedonewithveryshortbowmovementsof
aboutoneinch.Thetappingorflickingmovementsonthepoint,atthe
m i d d l e , a n d a t t h e f r o g o f t h e b o w o n t h e s t r i n g a r e e s s e n t i a l f o r t even
he counted
be observed exactly'
balance of the bow. The rests should
aloud,duringwhichperiodthestudentshouldmentallyandphysically
prepare hirnself for the subsequent movenents'
 . T
-.+-
A
A ,E ------;l 7
-f.--, t
'JM
: III pue II s6urr:ls u o s 6 u T t 4 o g s n o a u e Tr n u r r s
i
I
I
9.
a-
"El t-YJ
: Il-I 6Urlfs uo s6urAog
'-raqf a6()f, IIJ pup II
. t rlrr
o rs Ll
d r .sJs 4e p
rr a
v vq T P anoqp pallrTlno s a - fn p a c o l d a q J
I t.
't asrc-rax-jI uI
A Sr 3 . r a x g u r 1rTI 6ur-11s uo sApTd fuapntrs aLI?
uo '9
r;il
uLJ
4 t?a--
,.1;r'El
'6urf,fs
ut 'qoTqn ltoq eq? 6utprn6
Ilesolc pTaq sT 'urn1
eq1 lsute6e ltdnd eq:l Aq
A q a : a q 1 ' r \ o q a q ? 1 o 6 o : ; a r { 1 q l T l 4 ; a q l e 6 o/ 1l ps tu- let tq e u I P S a l i l f o s r a 6 u t ; sa ' q1 r1d n d
aq:} fe pueq lq61:
spTor{ pueq 1qb-r: s'raq3pa:} eql aTrqA
s,JaqcPaf ar{1 'sasr3laxe or'1 6utmolTof aql uI
eqf spToq puELi ffal
 Inthisnextexercise,theteacherassiststhepupilinthesame
f a s h i o n a S a b o v e . D u r i n g t h e m e a s u r e r e s t s , t h e p u p i l t r i eteacher
s t o h o l dwho'
the of
manner without any help from the
bow in the correct '
any errors that may occur
course, stands ready to correct

the entire praying

is to be performed arways using
This exercise f r o g to the
the itroke f r o m t h e
surface of the bow. Physiologically'
action b e c a u s e o f t h e length
is primarily involved with sioulder
middle
and from the middle to
of the note,
tion. W h e n u s i n g t h e l a t L e r b o w arei
t h e w e i g h t o f t h e b o w i n orde:
crease
tone. However, the weight of the bo'
with both the shoutder and th
string
lead to too much weight a n d t o "chok
given an unnecessary l o a d o f p o w er '
s a m e f o r c e a g a j - n s t the
held with the

rle bow as slowly as possible across

thestringsothateachstrokemaylastaslongashalfaminuteoreven
longer I

,%
GIAHTM.

CIfl}TGI}G A}ID CONNFII}re BOVJSIrROKES

both the wrist and the fingers hold-

In connecting two bow strokes,
Whatever t h e f o r c e of the changing action, it
ing the bow participate.
not to loosen the contact between the bow and the string
is most important
and to
(f) mentally Prepare the attack for the
next note during rests;
(2) maintain the same force \"hen attack-
ing each bar;
(3) connect the bowj-ngs without interme-
diate accents.

A. keparatory E<ercise for Ctnngiry brs

 H e , r e , b o w i n g i s p e r f o r m e d e x c l u s i v e l y b e c a u s e o f t h e s h o r t aTgoe o mfabkoewc e r -
movement and to r..p it" bow motion under comprete control-.
tainthatthestudentdoesnotuseelboworshoulderactiontheteacher
s h o u l d i m m o b i l i z e t h e s t u d e n t , s f o r e a r m b y h o l d i n g i t . W h e n t fhi vi es e xt oe r -S e v e n
middte, the bow moves
cise is bowed at the frog or at the
l' below); but when bowed at the
inches across the strinq (see diagram
tip, the bow is thrown off the string' causing only a tap (see di-agram
2).

- -_-.a
-- -r-a
,-- ,z--

i ' (\ ) 2,\ (\ )
t*.-('
., '-'<-?(-- ;
-i"
+ I

for Conrrected Bovdngs n6tach6 Legaxo

B. D<ercises

Connecting tsowings on String

Changing at the Frog

t-2-3-4-5-6 r-2-3-4-5-6

}E

Changing in the Middle

Changing at the TiP

pIaY each section several times. The enti-re exercise

In the above,
interruption' and the repeats must be taken'
is to be performed without

The intensity and quality of tone depends on

(1) the proper bow movement and attack to
create equal sound vibrations through
equallY distributed w e i g h t ;
(2) the raPiditY of bowing;
(3) the proper contact between bow and
string '
IO
Theinstrumentitselfwilltellthestudentwhenthereistoomuchor
toolittleweightthroughaScratchy,cracklingsoundifthereisLoo By con-
or "whistle-y" sound if there is too little'
much, and a llght of his
wiII learn t o a d j u s t t h e w e i g h t
centrated listening, the student
c o n t a c t w i t h t h e s t r i n g s , a n d thus
hand in order to produce the proper
p i a n o a s w e l l a s i n f o r t e ' T h e degree of'
create a concenErated sound in
tone intensitY is determined bY
(f) the attack of the bow;
(2) the raPiditY of bowing;
(3) the-proximi-ty of the bow to the
brrdge.
Verynearthebridge,itisimpossibletoproduceanorma].tone'instead,
(Ital-ian for "on the bridge") tone re-
onfy a so-called siJ ponticeTlo
- w i t h o u t t h e n o r m a l s t r i n g reso-
sul-ts a tone of dry characteristics
nance.

e €>
with varying de-
In the exercise above, bowt-ngs should be practiced
s p e e d s , t h e l e n qth of the bow
grees of attack strength and at different
used being equal in everY case.

C. An D<ercise for Ccnparative AIID\rnts of Bo^I bvenent

At the end of each dotted half note the bow is raised from the
string and the arm is brought into posi-tion agai"n through a circular
movement to attack the next note as shown in the diagrams on page 9.

D. @nstarrt-$peed Borings wittt tlre Sane Part of the Bort

The variations in the example below, from (a) through (h), are to
be played alternatelY with the whofe bow, the lower half of the bow, and
the upper half of the bow; t h e n , f i n a l l y , as indicated in the example it-
self.

*--- t-
 clflP1m 3

CONSTAIVI-SPM BOV{I}GS
WITTI ITIE SAI"TEPARI OF TIIE BOI^I
IN OPBI-STRTI{G MIEILE STOPS

C>

Theshiftfromonedoublestoptoanother(xL|x2)shouldbecon-
ducted in the following manner:
L2
GIAHTER 4

DGRCISESFoRTHEEASYCTIA}JGINGFRON,ISTRINGToSTRING

Inthischapterweareconcerned,inalimitedSenseonly,withthe
techniqueofchangingfromstringtostring.Rather,elementsofthe succes-
of certain typical
technj-que are necessary for the performance
sionsofnotesplayedontwoneighboringstringsandinvolvedwithfre_
following:
guent transitions from one string to another' as in the

Plag the same pattetn on a7l" fout strings'

Variations

Variations

these exercises on
The student must be sure to remember to perform
aI].fourStrings.TheyShouldbeperformedslowlyatfi-rst,andthen
and with differing attacks as facility is gained'
more rapidly
between chang-
what we are concerned with here are the differences
as opposed to changing from the D to the
ing from the D to the A string
Gstring.Ineithercase,thecrrangingmotionofthebowisverysmall.
However,fromtheDtotheGstringthechangingmotionshouldbemade
withthehelpoftheshoulderbladeratherthanwiththemotionofthe
The change from
arm alone, as in the change from the D to the A string.
is also as small as the p r e v i o u s c h anges, but the
the G to the c string
a w k w a r d r a i s e d Position'
elbow, instead of moving out and up into an
the natural, contained
fofl0ws the motion of the shoulder blade and
curveofthebody.Inthispositionrthehandandtheentirearmre-
stroking and preparing to
semble the position of a swimmer naturally
move the arrn above the head.
cc CC
\-.t
'rqoq aql 3o 6o11 aql Jo /Yrarcs dulqs aqx saqclPn aq aTTI{I{ luap
'lca::oc arE sluau
-nxs aq1 Iq uaas aq z(11pea: uEc u-raxlpd uollour aq1
-aAou asaql l:I 'pa.{e1d 6u1aq r[TTenlce sr asTc:exa aq1 aTTI$r a{eut PuEq
eql
1q6Tr pue 6o13 r{oq aql sluaua^ou aqx aqTJcsap t'lolaq uoTlezTTPnsTA
uT sAorrE aqJ, '6ut:1s re&roT pue raddn aq1 uaarrleq 6u'p:ls '{:eu16eul1
up uo bupvroq aq 01 suFas J'loq aI{J,
'uoT?ce peldn-rraluTun puP lluol:Tun
auo oluT (uI'lop pue dn; s6u1:1s 3;o 6u16ueqc ar'l1 :o3 A:essacau suoTlcP
aq? qxT/,l pauTqutoc are 1ute6e lceq pue 1I{6Tr 01 lJaT uorJ) sa6ueqc
'odual prdel e u1
/vroq roJ IrBssecau suoTlce lsTllvl pueq-1q6r: aql
' { c e 1 1 e p u e s p a a d s l u e - r a J J r p ; o s 6 u t a a o qq l T l ' r l n q ' s r n T s Aq punoq are
paqcP?
?pql asoqf se Aloq 1o q16ua1 aues aq1 qltr'r padeld eq o1 e-re selou
' . ^.{,,,^- ^- J- - - nr A o? af,e aAOqe pue SeS-JJ-raxg
-ey eut.1 vuue+ yLqEr s "ur ! y e r r, {sn Lr * eQ ? E
:s6ur:1s r n o l : T T e u o p a A e l d a q 0 1 o s T p a ; e s a s r J - r a x o 6 u r z " r o 1 1 o ; la q ;
I4

CTIAHTER5

HAL.F'-STEPD'GRCISES ON ONE STRING

the Fingets on the Fingerboatd

Placing
and the
tha the planes of the fingers
Here, it must be repeated
f i n g e r b o a r d a r e p a r a t l e l w h i l e t h e f i n g e r s t h e m s e l v e s f o r m a r i go h
f t at hneg l ef i n g e r s
edge of the fingerboard' ith only the tips
with the
touching the string '

T h e l e f t s i d e o f t h e t h u m b a b o v e t h e n a i l l e a n s , b u t i s n o t p r ae sl si t et l de, de-
the neck of the cello' The upper arm is raised'
against to the right the
The lower :-n piitf' and further
tached from the body' a s t o allow
elbow i s r a i s e d s o
string on which *" Lot, the more the left
normal position o n t h e f i n g e r b o a r d '
the fi-ngers to preserve their

On the other hand, the left

aI height when fingering in fi-rst
c u r v e o r the arm to the bodY '
would break the natural

practiced at first pizzicato' then

The exercises befow should be
arco, on string II, and then on all four strings:

tzF
: - I3}_---
t::l

l4t-- d)rrF
a-
t3F- tr- LU-

tz'l- B- t+-
B_
3-
2-
E E * I ql-

-
le f-

l-

Inaddition,thep:rzzicaEoshou}dbestudiedinthefo}lowingways:
 GIAITER 6

EXERCISES WITFI HALF NCTIES O}T TVqf, SUCCESSIVE STRINGS

Et- trf-
l4_rE= rlEl__ Er
t-1.1.--

+ t l
During the stops, the left hand anticipates the following tone
by aeans of a strong percussion.
I6
G]AI{ER 7

TTIE C].,ARfFICATION OF I}TIONAT]ON

PERCUSSION STROKES'
THROUGI IEF:T-HAND
AITAG<S AND PIZZICATI
(the powet coming aLwaqs through the knuckLes)

Thefollowingexercisesleadtoexactintonationbyallowingthe fin-
left-hand
pupil to hear drrlctly the sound produced by a particular
ger placement-

After each ascending note is Pla'

ing note is p l u c k e d , o r p l a yed ptzzrc
o n t h e s t r i n g ' I n this actro
viously
as in a Percussion stroke' but
ca1ly,
the round
the palm in such a waY that
plr."iir,g action can only be convenien
fin
since, in the ascending mode' the
lose the desired pitch'
the string to p l u c k i t a n d , t h e r e b y

I ' the student must be sure to

When plucking the string in Exercise
raise the entire hand after each note
(Raisinq onty t h e pluckir
next note.
work as a unit, creating a l a c k of tL
and a senseless f e e l i n g o f m o t i o n ')
gers shouLd resemble t h e a t t a c k a nd r
over a period of time' this exerc.rse
bound of a b a l l - w h e n p r a c t i c e d
graduallycreatesanalertnesstoandftexibilityoffingermovements.

InExercise2,theentirehandisalreadyonthestringwhenthe
fi-ngersarerarsedinapluckingmotion,t}renreplacedupontheStrlng
to perform the same actlon agarn'
in order

Thepluckingmotionofthefourthfj-ngeronthenotesmarked.'+''
forcesit,togetherwiththesecondandthirdfingers,toleavethe
stringandriseintotheairasifpreparingadiveontothenextnote
fromtheheightsabovethestring.Itmustbeemphasizedthattopluck
thestringwithanybutthefingerthatpluckedthepreviousnoteisa
waste of energy. it. student wifl find these movements particularly
usefufinthelaterstudyofpositions,stretchesandhandextenslons.

performed on all strings As will

The foLlowing exercises shoufd
ho

be obvious to the student, the bow used onlY in Exercise 3 '

1 2 ! + t + 3 2
+
rl-n P P P P + P +
 qrco
+ + +
nT.o' o t o l o l

ii

CHAHIER B

DGRCISES F'OR FINC;ER DD{IERITY

In the following exercises, the fingers at atl times must be highly

arched above the fingerboard at the first j o i n t f r o m the knuckle' Spe-
must be paid to the third f i n g e r , s i n c e i t i - s t h e w e akest
cial attention
finger when used in this manner, a n d t h e l e a s t a r c h a b l e .

*Ih this and the other. examples in the combination 7-2-4, the thjrd finger, because
aF
its suplnrting function, faLls simuJtaneouslg with the fourth.
 are to be Performed in the same way and '
The following exercl-ses
again, o n a l l s t r i n g s :

1-3-4, the second finget, b€-

*In this and the othet examPTes in the combination
function, faLJ-s simuftaneousLg with the third.
cause of its suPPorting
 CIAHTER 9

IN]0NATIONEXERCISESUSINGANAD]ACnffoPs{STRING

Atfirst'eachoftheexercisesbe].owshouLdbeperformedwither-
notes (if there are two) alternately replaced
ther one of the fingered
bytheopenstr]-ng.Bythisusage,thestudentwillbeabletohear
if the interval formed by the fingered note and the
with greater clarity
is in t u n e a n d i f t h e f i n g e r e d n o t e i t s e ] f r s a t bhe correct
open string
l i s t e n : - n g w i L l l e a d t o g o o d i n t o n a t i o n practrces'
pi_tch, concentrated
As proficiency rs attained, the fingered note may again be substituted
for the oPen string.

Oa)

, o r
oz
 C}IAPTER 10

DGITCISES IN CONJI]NCI SCAI,ES, SKIPS A}JD ARPECG]OS

Each scale should always be studied in the followinq sequence: the

scale itself, the scale as applied to thirds, as applied to fourths, as
applied to sixths, to octaves, a n d t h e n t o a r p e ggiated chords. Pay par-
ticular attention to t h e s t u d y o f t h e l a s t i t e m '

Fingering symbols are indicated in some exercises onJ.y- fn aII oth-

ers, symbols appear only where the fingering can be misconstrued.

A. Conjr:nct Movenent in QuadrWle Meter

malor

C major

@ +
lvo
zz

C harmonlc mrnor

m el o d i c

Each minor-scaJ'e ex-

Note to the student:
a T w a g s b e performed both in
ercise s h o u | d
its harmonic and nefodic scale fotms '

above in the gi-ven common

When the PuPiI has m a s t e r e d t h e e x e r c r s e s
be transferred to more remote keYs and
k e y s , t h e s a m e P a t t e r n s should
played in triPle meter'
B. Iuovenent in SkiPs of Thirds

Preparatory exercise for the Ieft hand

(D
tr t-4]__{t Id- tr El--ll E}_ tr ll--fl IE- .^,
--if -_--
lof EF 13f- i3l- i3l-- _-- 11f
lz L5_r--
ri l___ trt_
u lzi__ lzl_ lai_ _ _
trif-1--l
ru L:
111J-l I L Ji 'lli---il8=---
!- r
il tr

JE
24

@r

C. Movenent in SkiPs of Fourths

Preparatory exercrse

D. I4overent in SkiPs of Sixths

Preparatory exercrse
E. I"lovenent ]n Arpeggiated dnords and Chrcnratic scales

the exercises in sectlon D'

To l-nsure precise intonation throughout
itisadvisable,wheneverpossible,tokeepthethirdfingerwithout
This will insure, in turn, that tlre hand re-
movement on ats string.
m ove higher or lower
mains in first position and does not inadvertently
to string as it v e r y w e l l m i g h t i f i t released
when changing from string
the string entirelY.

Asageneratrufe,whene\rerthestudentmovesafingerfromone
with the finger-
string to another, the hand should remain in contact
board.onlythefingersthemselvesareraised,nottheentirehand.
with a definite mo-
The student should al-so endeavor to place the finger
tion, as though he were hookirrg the f i n g e r t i p t o t h e s t r r n g '

trl---
.3r-
f4]_----
l3F------ -
eI-- El-
- )

4 t3l-
, i2F
I o
LLF
_o
26

@
l;L-----
tit----
|11----

@
@

@:

O @
28

@
@

nth chords

Di-minished chord
@
Augm e n t e d c h o r d

@ Chromat i c scale
 CTIAPIER.1I

BC}V{ED
RruDES IN QUARTERNOIES

At first, these etudes are to be played in a very srow tempo with

the whole bow, then with the rower harf, and finarly with the upper harf.
They should also be played at a constant roudness lever, with even
rhythmr good legato, unvarying attack, no accents, uniform timbre and no
vibrato. The pupil should maintain the same weight and intensitv for
both up and down bows.

When the pupil has mastered these etudes to his teacher's satisfac-
tion, he may then repeat the exercises with the variations written un-
derneath each. As the pupil advances in technicar facirity, he should
be encouraged to practice the exercises in this book employing the writ-
ten variations at every opportunity. rn addition, he shoul_d appry the
principles of previous exercises to l-ater ones, and create oriqinal var-
iations of his own.

The fingering in the following etudes has been omitted on purpose,

because it is assumed that the pupil has acguired enough knowledge by
this time to undertake this task. where alternate fj_ngerings are possi-
ble, the fingers that should be used on a particular string have been
placed at the head of each exercise.

uL1.Z4.- tL.t.2.4.

rI.1.2.4.-r.r.2.4.

II.1.3.4.-I.1.&4.
 fv. 1. 3. 4. - nL 1. 3. 4.

III" 1. 2. 3. 4. - IIr. L. 2. 3. 4.

r. L.2.3.4.- r r 1 .2 . 3 . 4 .
rI.1.3.4.-I'L.2.4.

L
L : r a 4
32

1 1 a
t t t *

a) tx b)it
lt
1 1
7, ?
a)..
.' t'ix
 o't
* L';.-"i

1:-'--

GIAPTER 12

SHIFT]NG F]NGERS CT! A STMNG

A. First-Fjlger Glissando Shifts:

$hore- and Half-step l,torrenents up ard Do/rn rndividual strinqs

The pedagogical purPose of this chapter is to introduce the

student
to the conception that playing the ceLro should be as easy
and spontane-
ous as breathing. concretely, it introduces the student to movement out
of the first position and is also the first step toward the exploration
of new fingering sensations and the enlargement of the fietd of the hand,s
activities. It is here that the student should first realize that any
exercise (as wel1, indeed, as any piece of music), performed
on any in-
strument, is accompllshed through an intricately connected serres of
physical "journeys" or "processes,,- here, the bow
hand guiding the bow
back and forth on the strings and the left hand going from one place to
another on the fingerboard. It is the effect of one "journey,, on the
next that determines the ease of performance and the character
of inter-
pretation.

Thus, where the hand has been on the fingerboard affects a number
of "process€s:'r the position of the hand and how it got there; where the
hand is going and what fingering should be emproyed to get there; the
difficulty in compteting the "journey;,, and whether the resuLts obtained
(that is, the coloring of a note and the phrasing of a passage that give
music its life) are worth the effort e*pena.a. ini" coirception of fin-
3B
gering technique as a series of processes will later provide the justj.-
fication for the purposeful study of stretches, hand extensj-ons, posi-
tion shifts and the sixteen basic finger-changl-ng patterns; for the more
wavq fhc qJ-r:dpnJ- Finds to annroach: nn+a r-ha m^v^ itS COIOf Can be Vaf-
ied and the more comfortable, natural and "instinctj-ve" will be its fin-
gering and that of the notes that surround it.

The student, therefore, should not identify a finger with a note.

nI qi i ro^L
r i rrr- ^vr u ^ L - - ^ ^
u r r a ' y c ii n s e n s a^ +t ii o n^ - o c c u r s e
^ ^ ^ L
a c h +t il m
- ^
e +t hL ^e ^sr a! nm
^
e 6n^o+ t^ e ii s^ p^ l l * -y, = *
, ^ i

with a different finger or approached through a different fingering.

For exarnple, in Exercise l- the student plays the G in measure I with the
fourth finger in first position; but in measure 2 he plays it with the
third finger, the fourth finger plays ab , and the hand is said to be in
second position. The student will immediately sense the change in
"touch" and ease of production of the G when played by the strong third
finger as opposed to the weaker fourth.

In the following exercj-ses, remember that the "lie" of the hand does
not change when the hand shifts a hal-f-step up the fingerboard. The fin-
gers remain in the same relative placement to each other whil-e the hand
moves as a unrt.

To introduce the student to hand extension and open position, all

notes played by the fourth finger should be raised a half-step. Thus,
the AD in measure 3 of Exercise 1 would become A4, etc. AIso, to
suPPort the fourth finger in its extension, fingers two and three
also move away from the first, thereby changing the "1ie" of the
hand and moving the hand out of close position. The thumb, of
course, has to follow the second finger, in order not to feave the
hand in tension.
The correct performance of these whole-step shifts wilI become the
gateway to earLy mastery of stretches, position shi.fts and hand exten-
sions. rn addition, at this poi-nt, the teacher shourd give the student
singing exercises of whol-e- and half-steps accompanied by demonstrations
on the piano of the visual meaning of the brack and white keys, since
there j-s a direct correl-ation on both the piano and the cello between
motion distance and pitch.

r 2

Variation
 11 I -l 4 1 - 1

Vari ation

The second staff with the "e" marks shows approximately where the
thumb should be placed along the back of the neck while E.he finqers are
performing the contents of the first staff.

rrT,t E!
I l+2, EA +

@ x l
a Q ,-- 0 0 Q.- 0

EI] Itg
@ t l 1

xZ

' {) 0-
0 0 0 a

E4*,s

l + 3

x7

I
40
B. First-Finger Glissando Shifts: Skips of l{ajor and I'{inor Thirds

illo

Variation

Here it is advisable that the teacher place the hand of the student
into the fourth position in order to teach him more easily the technique
of shifting back with the fi-rst finger. The student should see that the
heel of the hand does not rest on the cello but is about a half-inch
away.

These exercises should be performed wrth a ful] and singing tone ' espe-
cially during the glissando shifLs.

Variation
C. Perfect-Fourttr Glissando Shifts Erploying thre First and Fourthr Finqers
In the following sequential- exercises, the first finger is employed
in shifting the entire hand a perfect fourth up, and the fourth finger
in shifting the entire hand a perfect fourth down. original exercises
should be created using other fingers in perfect-fourth shifts on aLf
strinqs.

't ne finger-overlapping that occurs in Exercise I0 is another intro-

duction bo the techniques used in changing positj-on:

rT'n
42
n Shifts of an Augnented For:rth or a Diminished Fifth

Tn order to accustom the first finger to moving the interval of the

augmented fourth or the diminished fifth, it is advisabl-e, after study-
ing the preliminary exercises, to study the exercises that follow by
first playing only the first sixteenth note of each group of four; this
method is notated in the first measure of Exercise II. In practicing the
exercises, such an approach wi.l-] help develop good intonatj-on in shift-

Preliminary Exercises

This exercise may not only be practiced as a n e n t l t y in rising half-

steps, but its component parts may also be used as moti-f ic cel-l_ replace-
ments in Exercises 12 and 13, below.

Beyond the fourth position, the ,,lie,, of the hand changes. This
will be discussed in a later chapter.

E. Finger Substitutj-ons on ttre Sare Note

The purpose of these exercises is to teach the student dexterity of

fingering by J.etting various fingers fa11 on the same note at the same
polnt on the fingerboard without the preparation required in previous
exercj-ses. Here "finger memory" first comes into play. This procedure
of finding the right "hol-e" in the fingerboard is different from previ-
ous ones because the hand remains in the same placement and only the fin-
gers move.
 rn all of the forlowing exercises, the same fingering shourd be em_
ployed at each repetition of a passage played a harf-step higher.

rT-r-r
a) 1
L ? , I

@=

rrn
I--31,-=.3
lJ ra! -B tt 2-42124

'0r'
1^3 1^3 -lr^ |
44
4 3 2 - 1 I 2 3 / 1 4 3 2 4 3 2 1 2 3

. t tV :

4 3 ! . . 1 1 2 3 ,rr / + 3 2 | 1 2 3 4 L ?' 3 tlt 'lt 3 2

!TT-t
4 3 2 1 4 3 2 l 1 ' ! , Lt r ? , T t t t 2 8.4

. nV.

3 2 r 4-3 2 1
,2:,,h! 2s!. I 2 3 4
12,3t*. t 2 3 4 t z I

4 3 2 | ,4 3 2,I t
nlL.,|u? 1 2 3 4
r ' 2 3 4 1 2 3 4

"D
4 3 tr ? . 4 2 t 4 1 2 4 2, 3 4 3

b) 6
r*34 3 zt+ 2 i 2 3 i 4 3 4

2 l l L t 2 4 2 3 4 3 4 3 4 g 4 3 ? i r

The variant fingerings for the repeated notes in the above exercirol
are intentional and serve the purpose of introducing thc hand to thr way
the same note ,'feels,, under diffeient fingers.
 C]IAPIER 13

BASIC F]NC.ER C}ANGN{G PROCESSES

FOR THE INDEPENDENC:EOF FI}IGER ACT]ON

n
Preliminarl E:<ercises

The student should become accustomed not

only to the normal sequence
of Lower finger on l_ower string and upper f i n g e r o n u p p e r s t r i n g b u f
to the reverse placement. also
T h i s w i l _ l a l s o contri_bute to the independence
of finger action.

These exercises should be played o n A^ It I 1 tour strings and i.n shifts

from the first to the fourth poiition i n the same sequence.

4
2 2
rr-n 1n
46

^ 4
a C

The student shouLd practice the first fi-ve exercises above with the
intention of hearing clearly each intervar-ric leap before going on to
the next one' The rest should be a moment of rel-axation
student attempts to hear the following in which the
reap in hls inner ear and prepares
himself for its physical performance
before actualry playing it.
with assiduous practice the student wil-l soon find that he can per-
five exercises (Nos. 6 _ tO) wirh
::::-.::_larrer
__es !
srearer confidence and
l /r e9r l .

B. h:erimilary E:rercises for Arternating Gror.ps of Fingers on TVo strings

After Playing No. 1r, berow, the exercises
that forrow shourd be ac-
tempted, being sure to keep immobire
those fingers not taking part.
These exercises shour-d be prayed on
atl four strings and in first to
fourth positj-ons

fn a): Keep fingers I and 3 on the

string while playing 4 and. 2.
In b) .. While f ingers 2 and 4 are still
playing, prepare t and 3.
In_ c).. Kee ing the other fingers on
the string, move nly the 4th finger.
In d).. Keeping the other f ingers on
the string, move only the 2nd finger.

lzl-- El-- I
_rri;=
IT'I-I r1r-- iI--
f!-- E#
1+
ffi
r-l---u -
Exercises in which a Finger is
Moved from One String
to the Same place on an Adjacent Strino

First Finger

Second Finger

Third Finger

Fourth
48
D. kercises where TVo Fingers Grange place
(The f ingers ,,d.ancea
WLka.,,)

rrn n

E. Shifting TVn Fingers Ilp and Dcxrn TWo Strinqs

(a) Chromatic Major Sixths in pairs

fAL- a4+-
n_r-.tuF
PH,F irl____
P'l-l*t

(b) Chromatic Major

Sixths
q r . A l t 3
rT-r'l "t ,7. i ,. z 1
?

(c) Chromatic perfect 4ths

;-rr1
- nc3 4 3 4
t g l , z 1 . 2

(d) Augmented 4ths

J
 GIAPTER 14

DGRC]SES IN P].ASTICTTY AI\]D FLD(TBTLTTY

OF FINIGERTNG A}JD BOhJII}JG

In this chapter, the student

sj
rything he has learned before,
appr(
ment not only as a motion by
and fo:
energetic pickups and placements.
-
study, as far as possible, the mover
and D to G between any two fingers
t

f-T-t-t

VARIATIONS
O",, @"

fT'n s r+Z o 1+Z o l S

Variations
50

fT'no 1 o1o 1 o 1o r o . , 1o 1 o - 1 o I o I

Variation

FT-l-le 1 3

c 1 3
o tl? o - 1r q olt4

--------/ --'-.----
 I
I

r-'l l--l l, l^l

l----
c 4 Od,,b4 .d g .
Ttl ril) hill)

l^l I+l I
4 d d l d l
52
 Play each bar several times; afterwards, continuously, without repetitions.
o),0

1 t

f_l_lEt

J)!)

POSTSCRIPT

For future study, it will be necessary to acquaint the student with

two clefs, the tenor and the trebl_e.

Tenor Cl_ef

a . e l

Treble Clef

I
I

e L ' + =
54

EI.EVEN P]MS
FOR GLIO AND PIA}TO

ceLl-o part for these pl.eces

.The , bound
into this voLume at the
end ot the bok,
mag be removed tor perform""i".

Adagio NOCTT'RI.IE

Adagio

\..-- tJ;

-rErr::-.--Tl
-
<=--

\-\---.// \\----,l
- \+--

SOLEMN PRELT'DE
 MEI-ODY
Andauh cantabile

Andant€cantabile : ---

'\-/

^-_
4\ :-.'..-- {>

'-'---/ 5

Allepo rDarcato

Allegro nureato
56

Tcrrpo*di rninuefrt
1
2
t
' l *

ryD -
Tempodi minuetto
 ROMANCE

llcderato

Piu mosso
58

BASSOCONTINUO

Adagro
Andante
60

A FOLK SONG
Adagiocantabile

A l l egr o

M oitom eno

Ja a., fi.te
;-;=--- $
SAI,TARELI,O
 THE WIND SCOURING THE FIELDS
Allegro maben ritmrco
..*-.-/Lt

Hard in first position

64
BOOKOTIE,/ PAI{I Trc

The Studg of Gl,jssando Shifts, ,stretches and positions

CHAPIER 15

STRETC}I A}JD POS]TION GANES

'm1Ln^ e s^ +E, - u1 .c. l y o

^t
r stret.ches and positions serves to achieve the fol]ow-
rng goals:
extension of the compass of the hand in
the most natural way;
2. enabling the hand to cope with the most
awkward figuratj-on in the most natural
manner;
the ability to employ relevant changes
in tone color wherever musically appro-
priate;
phrasing any passage in the most musi-
cal way;
the ability to gj-ve any passage whatev-
er degree of emotional expressj-on rs
npceqq^r\t

rn addition, Lhe study of stretches and positions is one of the fun-

damental methods of attaj-ning security of fingering. The conventional_
fingerings are already tearned responses by the time the student moves
out of first posj-tion, and it is onry logical, therefore, that he shourd
attempt to pray a note in a higher position with the same finger with
which he woul"d play it in a lower posi-tion. Ho\,rever,such uninterJ_igent
and disorganized practicing reads to many difficutties, among which are
unnecessary arm and hand movements, distortions i-n the placement of the
hand, possible injury to the muscLes and sj-newsof the hand, and, mosE
seriously, to an insecurity in finger action which must eventually resul"t
in inexact intonation.

To prevent these difficurti-es and to enabre the pupir to do most

easily what the intention of the music requires him to do, and not what
false convenience and technicaL limitations make him do, the interrela-
tions between positions and stretches should be studied. Only such study
will give to the student a complete security in fingering and a confident
ease in technique.

EarJg Concepts of CeTl_o Fingering:

Fingering on the cello was orj-ginalry taken from the vior and, lat-
er, from the viotin, where successj-ve fingers were expected to stop whole-
tone steps. The consequent awkward hand placements and the loss in ease
of fingering and solidity of tone, especj-arry in scale passages, were a
distinct barrier to a free and confident technique.

The solution proved to be to buird the entire technique of cello

playing on the interval comfortably covered by the first and fourth fin-
gers (a major or minor third) on that part of the fingerboard between the
pegs and the middle, and on the consequent normal distance of a semitone
between two adjacent fingers. This normal arrangement of the component
parts of the hand on each string when moved up and down the fingerboard
created areas of fingering activity around each semitone which l-at.er as-
suned the nane of "positions.,,
 Each position had its own set of fingerings for a diatonic or chro_
matic scal-e and, inevi-tab1y, a particurar finger became gradual_ly asso_
ciated with a particular semitone in each position unti1, in many cases,
that note, no matter how approached or feft, was always played by that
finger. Thus, the desired goal of technique largely became adherence
to an inconsj-stent, arbitrary and lrlogicat set or rules rather than ease
and naturalness of fingering.

The ProbLems of Enharmonic Notatton:

A further difficulty appeared when 1ittle or no account was taken

of enharmonics when designating position. since each position had sev_
eral enharmonic variations which confricted with those of neighboring
positions in designation, the same probrematic passages in hand stretches
and pJ-acement, when notated enharmonr

?rent technical problems, if written

enharmonically in such ways as to be incr-uded under the same posit:-on
designation, couJ-d be given the same fingerings. (See Exercises r and 2,
below. )

The Probfens of Hand Movement:

The maln difficulty arose when the abstract complexities of position

designation were appried to the actuar process of movi_ng the hand up and
down the fingerboard. vJhat had begun as a necessity in order to clarify
fingering processes almost became a game where the emphasis
and interest
r,rere not on the fundamentals of fingeri-ng ease and naturar_ness of hand
placement but, rather, on the choice of fingering through the empty de_
termination of what were valid positi-on changes and what were simpre
changes in hand stretches and extensions. An inability to consisientry
define the differences between them only added to the confusion
of the
situation. Advances in technique were hin<lered and too many cerlists
showed the defects in r-eft hand technique that such study engendered.

An fJ.lustration:

o o
o

The shoals of technical error onto which a misptaced emphasis

definition can lead a student is il-rustrated on
in Exercises r and 2c, above.
Both cases could be considered a change
in stretch since the first fin_
ger never moves from i-ts place
on the fingerboard and the second, third
and fourth fingers move to a new placement a harf-step
the first further away from
finger- Since a change in stretch, i_n theory, does not aLter
the reLati-onship of the hand unit to the fingerboard,
of course, is either that the thumb wirl the danger here,
be tardiry to its new
placement on the neck opposite the " n i r t " aor,
second finger \i/orse, will
in its previous pracement. be kept
rn either instancJ, this destroys the ability
of the hand to act as an efficient unit and resur-ts in an incorrect
placement, an inaccurate hand
finger touch and, consequentry,
in this open position. bad intonation

rt should be clear from the foregoing

that the attainment of a con_
fident technique demands that varid distinctior,"
u. made among position
changes, changes in stretch and
hand extensions. And, in truth,
can be descrj-bed by the finger each
axis, arn and bend actions involved.
66
The Inprtance of the Second Finger/Thunb Axis:

since the most effici-ent use of the reft hand revorves around the
axis formed by the second finger and the thumb, the determinatj_on of a
position is dependent on the action of this axis in relation to the areas
of actj_vj-ty on the fingerboard. Thus, it follows that a position change
is an exLension or a relocation of an area of activity in which this axis
participates. The finger rel-ationships can change or remain fixed whil_e
the forearm and hand move, as i-n Exercise 2a, above; or the other frngers
and thumb, less the first finger, can move and the forearm remain still,
as in Exercises I and 2c.

Forearm AngJe and Motion:

when a position change invofves moving the entire forearm and hand
up and down the fingerboard, the forearm should be kept at as cl_ose co
a right angle as possj-bl-e to the fingerboard, no matter r-n what position,
with the e]bow being used as the fulcrum about which the forearm revolves.
After the eLbow and forearm stop moving, the fingers assume their correcc
relationships to one another and to the fingerboard i_tself. As the stu-
dent advances int.o the higher positions, the erasticrty of the shoulder
enab]es the forearm to advance down the fingerboard at the correct anqle.

A change in stretch, as i-n Exercise 2b, is an extension within a po-

si-tion and is concerned with changes in finger rerationships and hand
placement. It should be emphasized, however, that the second finger/
thumb axis does not move. we employ stretch changes to stay rn the same
position as long as possible when an actual change woul-d be inconvenr-ent
or lnappropriate, or in order not to create extraneous sounds caused by
shj-fting the finger on the strinq.

Hand Extensi.ons..

The technique of hand extensi-on combines elements of the other cwo

changing methods and can be interpr:eted as empTogingr a stretch change to
encompass a position change wi.thout using shifts or g1i_ssandos. Gener-
al-Iy, this is possible onry for prayers with a large hand, since it de-
mands that the first and fourth fingers extend a semrLone or whole tone
from the body of the hand, which remains stil_r.
rt is used only in se-
quences of four or more notes or in leaps encompassing
more than a major
third, as in arpeggios, scale passages or rapid figurations on one strrng

A Final, Word:

The preceding text can be summarized in the following way: what

should determine the fingering of a particurar passage is ease and nac-
urarness of approach and musical effect and not brind adherence to any
set of ruIes. when this has been understood and the significance of the
forlowing exercises has been revealed by t.horough practicing in a tech-
nically correct manner, the student wilL have received the technical prep-
aration necessary for the study of three finger stretches in the higher
positions.
 CHAPTER 16

TTD GL]SSA}JDO (OR SL]DE)

The glissando i-s achieved by lightry sll-ding a particurar finger of

the left hand over a particular stri-ng as iL is bowed, using only enough
force to barely al-l,ow the string to touch the fingerboard. The qti."u.,-
do not only serves as an important means of tying tones together but is
also a technical device useful in facilitating position changes, making
it possible to controL the leaping distance that a partlcular finger trav-
els between two positions. One coul-d even say that good intonation prac-
tices, when changing position, can only be acquired through the aid of
the glissando.

During the glissando's execution, the string must not be pressed too
hard for such an action woul-d act as a brake on finger movement and make
the transitions from tone to tone seem to proceed in fits and starts.
rnstead, at the moment of the transj_tion's beginning, srrr-ng pressure is
l-essened and then is increased again immediately before the aimed-for

The glissando may be a risi-ng figure from a lower to a higher posi-

tron, or conversely, it may be a falling one from higher to l-ower.

The rising glissando is performed in two ways, as ilfustrated rn ex-

ampres (a), (b) and (c), below: First, as a "starting" glissando by the
leading finger that ptays the tone from whj-ch we start; or, second, as an
"ending" grissando by the landing finger that plays the tone to whj_ch we
proceed. The "startj_ng" glissando may be played on one bow, that of the
first note' as in example (a); or on two bows, as in exampre (b): here,
the first note is attacked on the first bow and the glissando is execut-
ed on the second bow which al-so serves for the aimed-for note. The ,'end.-
ing" glissando may be played only on two bows with the second serving for
the execution of the shift as wel-l- as to hi-de its sound; this is shown in
example (c).

The falling gri.ssando can only be performed as a "starting', glissan-

do on one bow, as in example (d).

(see il.lustration, p.6g)

At first, in order to strengthen the fingers and enable them to per-

form gJ.issandi correctry, a1l fingers (other than the shifting finger)
that are normally on a string when praying a note should be raised but
kept in the same relationship to each other during the shift to the fol-
lowing note. After the student has attained a certain facirity in per-
forming a shift, the fingers behind the shifting finger can be kept on
the string but at diminished pressure. During the shift, however, full
pressure must be kept against the string by. the bow. During the shifting
period' the fingers also, of course, shift into the new rel"ationships re-
quired by the new position, the distances betr"/een fingers being smaller
in the higher poEitions than in the Iower ones.
68
The glissando is reguJ-arly performed toward the
end of the firsc
note in a position shift, thereby shortening its writ.ten duration because
the second note must be pr-ayed exactry
at its -intended place in the meas-
ure. rn order that one shoufd not farr into the habit of shortening the
first note too much, the glissando shift should first be played in as
slow a tempo as needed to produce the correct
durational va]-ues for the
first note, the glissando, and the second note. As the pupir attains more
facility, a shorter and shorter glissando shoul-d be attempted until such
security is achieved that the position shift, a frexible gllssando, and
a release of bow pressure against the string during rts producti-on, arr
can be performed at any specifi-ed tempo rn a manner that meets afl_ me_
thodical requirements .

Al-r shifts are to be practj-ced wj-th a furl tone and distinct changes
of bow' liowever, do not permit l-eft-hand problems to adversery influence
right hand faci]ity, or aflow the arm, el-bow and hand-axis movements nec-
essary for position changes to become confused wlth the finger
actions
within a position itself. As a prelimrnary exercise to the following
chapters, the exercise bel-ow should be performed with the cited finqer_
INqS .

TNANSITIONS

@.rn

Illustrating D<anples a), b) and c), page 67

 CTIAPIER17

SHIFTING FRCTU THE FIRST TO TTIE FOTIRIHPOSTTION

BY I{EANS OF AIN OPM,I STRTNG

lv0 lll0

CTose first Position enharmonicallg

- Finger

Fb wD

tr D# A# t F

tr Eq Bb Gb nL

ch nl.

C]ose Fourth Position

- Finger

u9

\:2

Gb
70
rn the forrowing exercises, only the
specified fingers drop upon the
string in a "reaping" effect. The other fingers remain in the air above
their specified pJ-aces on the fingerboard.
As Lhe rerurn to the open
string is played in each sequence, at-r. thumb
slides along the neck to-
gether with the other fingers preparatory
to pJ_aying the next note. when
droppi-ng the first and fourth fingers, the student should make sure that
the forearm muscres do not participate in th acti.on; the fingers shourd
be exclusively moved by their oun muscles. 1so, the strldent shoutd con-
tinuously bear in mind the differences in stretch drstance between the
fingers in the first and fourth posit:_ons.

E
 L-flf\.t'J-lir( IO

SHIIIIING FRC["I TT{E FTRST TO TTIE F'O{JRTTI

POSIT]ON
BY MEANSOF THE g-ISSAI\DO

A. Finishing tlre Shift with the Saire Finger

rn the following exercises, finger pressure

is decreased immediately
before the shift, but only to the point where slight contact is
still
made between the string and the fingerboard. The finger, contj_nuously
ernploying the same degree of weak pressure as it slides
over the string
to its new position, should feel both comparatively weightless ye dynam-
ically vibrant. At the moment the finger reaches its new positio
sure is again appried to the string with that degree r pr€s-
of force nec ssary
to produce a full tone.
v
rll t

l---
4 z
1

At first, these exercises shouLd be performed upon the second

strrng
since it is the one best suited for easy assimilation of the techniques
involved. rn addition, pract.icing them and the variation above , prus
all subseq'ent gtissando exercises on arl strings, as shown beIow, wirJ_
enabLe the student to derive their maximum benefits more easi]v.
72
Shifts Erploying Different Finqers

oc rh! !; L F +
L t: l r ^g ^ LFr -e^m a lat/et Finger in the Lower position
to an Upper Finger in the Higher position, and Vice Versa:

In a rising glissando, immediately before Ehe jower finger, sliding

from its lower position, arrives at its place in the higher position, the
upper finget percussively drops upon its assigned place next to it and,
thus, interrupts the glissando.

In a falling glissando, immediately before the sliding upper finger,

in its upper position, has arrived at its place in the lower position, it
Ieaves the string, and leaps into the air, thus interrupting its glissan-
do with a weak pizz+, as the Lower finger drops precisely and perpendicu-
Iarly upon its assigned place next to j.t.

The sma-Li, diamond sha " ne iqhhor i " notes in the exercises below
are the normal notes n which the particular shifting fingers involved-
on toward which Lhe hand is moving. They serve
as a concrete, convenient aiming point to accurately determine the new
position.

Shiftinq from an {Jpper Finger in the Lower Position

to a Lower Finger in the Higher Position, and Vice Versa:

In a rising glissando, immedj-ately before the -lower finger, sliding

from its l-ower position, arrives at its place in the higher position, the
upper finger (whose pressure on the string has been gradually decreased
from the beginning of the lower-finger slide) leaves the string and ieaps
into the air, thus interrupting the lower finger's glissando with a weak
pLzz+ -
 In a fa]ling glissando, when the lower finger,
per posrti-on, sliding from its up_
reaches and then passes the aimed-for
note,s place on the
fingerboard, the upper finger (wtricn has been poised
in the air) drops
perpendicularly and percusslvery upon that ptace, thus interrupting
Lower finger's glissando. the
At the same time all 0f the fingers
the percussive r o w e r than
flnger (not onry the sriding
one) , farr into the normat
pattern required by the new positio'. when this is done at a high enough
speed, the lower neighboring note is not heard.

2 n l

n 3n 1
1

n
1 4 n 1

V
4 n 2

A11 of the exercises above shourd be performed with the forlowi_nq

variations:
74
C}IAHIR 19

TTIE S]}rIEM'J POSS]BI,E GLISSAI{DT ON ONE STRING

!{I{N SHTFTING FRC[4TTIE F]RST TO TFIE FOURIH POSTTION

Play the following exercises so that each one begins

with the appro-
prr-ate figure in first position, and then shifts successively to those
f igures under l_etters A, B, C, and D immediat.ely following
^+ ^ € E
on the same
> L 4 ! ! .

For prel_iminary study, however, the exerci-ses should be practiced

rn the vari-ations below, the shifts being performed during the rests
tacked on to the last note of the figure in first posi.tion.

tr
o
tr

Variation
 CTIAPIER 20

DGRCTSES FOR ELBOW FT,EXfBILTTY

USING FIRST TO FOURTH POS]TION g,ISSAIJDO
SHTFTS

These exercises should be performed

without pausrng on any part of
the string, using continuous alternating glissanai ana percussive move_
ments. particular attention shour_dne paia to the perpendicular
the fingers and to the rerease and reapplication fa1l 0f
of finger pressure.
These exercises are also val'd for alr
other position changes.

A gtdss. FOURTH POSI"IOff

FIRST POSI?ION
'M n4\rA.tr

B
ffiffiffi

CTIAPTER 21

DGRCISES FOR CORRECT F]}IGER POSTTIRE

DURTNG POSITIO}J SHIFTS

rn the following exercises, speci-al care must be taken to preserve

the perpendicular posture of the fingers as the shift from first to fourth
position is accomplished, with extra attention paid to the distances be-
tween fingers two and three in either position.
visualty, the inner side
of the forearm and the first finger form a straight r.ine. During the
shift, the lever formed in this fashion must never
be bent at the wrist.

E H

xl: From this point on, the second and third

fingers must temain poised in the air,
in order not to interfere with the sl.id_
ing finger.
76
x2: At this pointt the fourth finger must
drop perpendicuLarl_g upn the string.

x3.- After the first f inger s-Zrdes back to

its frrst-gtsition E, the third and.
fourth finqer must be sure to d.rop si_
mul-taneousJg and perpendiculartg
upon
the string.

T.t'retvrc stages of shifts:

F:irst stage (xJ, page75)

The tr^rostages of shifts:

Secord stage (x2. pge 76)
 (!Ot an J'l-tustratLOn Ot xj I g>age /6,
see the photograph precding
plge 4:
"Stretch and distances in the first
position.,,)

The specified fingers must d.rop firnlg,

perpendicuTarlg and sjmuLtaneouslg upn
the string. The student should bL
tinuouslg aware of the distance,s "on_
be_
tween the second and third fingers.

x5: At this point aJ1 f inge-rs nust remain

upon the string for as long a period
as 1rcss:..bJe.

x6: Al-f four fingers must participate in

the glissando. particuLar attention
must be paid to the varging distance
rel-ationships among the fingers when
shifting position.

NJ

RELATIONSHIPS BETWEEN THE FIRST AND FOURTH POSITIONS

DoubLe Possibilities of playing Certain Notes

q r t . l
<r Gde .o.= ifi i
I0

c_r 2 3 4

o_--
o = EIRSI FOSIfTON

@= FouRTltposfrroN
7B
CHAPIER 22

TI{E HALF POS]TIO}J

Though the half position has the widest stretches of any position
on the fingerboard - because it is the one
where the hand is nearest the
scrol-] - the hand is placed on the fingerboard with the fingers in the
same reLation to each other as in the first position but a half-step low-

lv0 lll0 lv0 lll0 ll0

Finger enharmonicaJJg

Table of Enharmonic EquivaLent Fingerings

for Each Strinq

G '.G-

?5 PG z\t
lo {cr
ll" lllo
'11o'T''$I. fie lv"

€; tr TE

rrn
 0) r4Z 2 414 b)

tr_--_

CHAPIER 23
TFIE FIRST AI\D TTIE RATSED (OR DflEI!DED)
TTAST POSIT]ONS

These posi-tions include some of the more

difficult and troubLesome
of the ordinary stretches (that is,
up to a whore tone) on the finger_
board. one must be carefur not to injure any portion
of the hand _ Fqna_
cially the tendons between the first and second fingers - in placi;n=#:-
first finger on the string. The sma]ler and more delicate the
greater the danger. hand, the
one must be patient and know that it
for the first wil-l_ take time
finger to adjust to this stretch.

A. lhe Close ard Open First positions

ft must be emphasized that i_f the first

finger moves, it should move
away from the second finger,/thumb
axis and not the reverse since this
would set the hand into an awkward placement.
By pracing the hand rn the
cLose first position and stretching the first
finger a half_step back,
the hand is in the diminished first
position. rn so doing, the firsc
be straisht and not curved- rhe thumb does nor chanse
;i::iliiould
BO

Cl-ose First positron

@n First position
fvo lll0 ll0 l0
fv0 lll0 ll0 lo
Ftnge

tr
tr
tr
tr

Table of Enharmonic'Equivalent Fingerings

for Each Strinq

Close First position

lo
enharmonically

h* $^ bo.

@n First Position
 Exercises for shiftino
from the close fj-rst t.o the open first position
by raisi_ng the first f,inger obliquely
and droppj_ng it a half_step lower

f-l
L1t

fr

1\-j
1
80

C]ose First position

Open First position
fvo flf0 ll0 f0
fv0 lll0 lfo lo

tr
tr
tr

Table of Enharmonic Equivalent Fingerings

for Each Strinq

Close First position

lo
enharmonically

b* ft- bo. h-

Open First position

 Exercj-ses for shifting
from the close first to the open first position
by raisrng the fi_rst .finger obliquely
anci dropping it a hal-f-step lower

c-l__

fnl
L:--J

fr

1\-i
1
B2
B. the Raised or DcLerded First Fosition

Finger

tr
tr
tr

Table of Enharmonic Equivalent Fingerings

for Each String
* ,
I' lA I r 2 3 . 4 t + Z 3

lo enharmonically tto I ttto

, I t' r, 2{ 3t
, a t-4
L
to be Do. Eo. q,o
" lrz ,_3 ,n I r + z I 4

4'o F'. E'o F: At qt"H:"Hi H Lil

o
6 \
\o
 CHAPTER24

TIIE CI.OSEAIJD TI{E RATSD (OR DfiHVDED)

SECOIVDPOSTTIONS

Cl-ose Semnd Position

Raised Second position
l vo lll0 ll0 f0 lVo llto flo lo
FINGER

Table of Enharmonic Equivalent

Fingerj.ngs
for Each Strinq
Close Second Position

e il+. -sr. fl_s

v{} gs u
lo ll"
arhormonicolly, I lll"
D.s. hs tg lvo
T.-

(T €

Raised Second position

l;D G'

P e {+u
enhormonicqllv llo l ll o
lvo
hs- [s'h+
- - E - ' -
:
e
82
B. the Raised or &cterded First Fosition

tr
tr
tr

Table of Enharmonic Equivalent Fingerings

for Each String

LlA 1 r 2 3 4 I + Z 3

lo enharmonically
, 1 * , 2 3 t 4
to be bo. ho qs
| + 2 3 4

tEl/

4-. F-. E o F: H1 qr"Q:" t;t -t

lPl.
- i o
 C}IAPIER 24

TTIE G,OSE AIID TFM RAISM (OR Fj{TB{DED) SECOM POSITIONS

Close Semnd Position Raised Second position

l vo lll0 ll0 l0 lvo lllo flo to

Table of Enharmonic Equivalent Fingerrngs

for Each Strinq
CLose Second Position

€> -s g-s

0€t qe \) v
lo llo
orhormonicolly, I lll"
ts lvo
4cr 0.s- [-o

liJ €

Raised Second Position

ID G

P e ll"
llo lllo
enhormonicolly,
lvo
hs. hs- tQ

s
B4
 C]]APIER 25

TI{E GOSE A}.]D RAISED (OR DO'ENDH)) TTIIRD POS]TIONS

i\. The CLose Third position

Table of Enharmonic Equivalent t-j-ngerings

for Each Strinq

,@
86

'l'-,9-rf-EE
E:'
B. The Raised or Hctended Tlrird position
F;
*i:l lv0 ill0
E-
a.;
s
* Finger

F'

TabLe of Enharmonic Equivalent Fingerings

for Each Strinq
e ! e fi-

lo # It
errhOrmOniCOlly llo lllo

h+ hs h-s h = ho k^ h.. h+
lvo

2 3 4
. e q l e l q . e
fle
3
fa t'e

o c)
88

CHAPTR 26

SHIFT]I$G FROMTTIE CI.OSETHTRD

T0 TTm OPENFOURIH POSfTICI,]
AilD BAC( AGA]N

A. Shifting position rntrile

Altemately D<panding
and Contracting Stretctres

xL: whiLe the first finger is shifting up

a semitone, the other fingers, with a
quick and el_astic movement, also
move
upward a whoLe tone abve their oriq_
inal position.

At x2, the ent:re process js reversed.

B. o.l=p*ltory b<ercise for a lrtrole_Tore Shift

wittrout @anding the stret.r,
u.t*"r, trr.'rii"t and second Finqers

c. @ardiry tle stretctr betrcen the First and second Fingers

lrthile Al-ternatery strifting thre seqcnd and For:rbh
Fingers a lail:ole Tbne

x3: The first finger does not move during

the second-f inger shjft.

x4: At this trnint, be sure that the other

fingers move a whoLe tone while the
f:.rst finger onlg moves a semjtone.
S. D. A Preparatory E:<ercise for Shifting the Ertire Hand
'*'
"i.
a Vftrole Tbne tLrrough Finger Sr:bstitutions on tfre
;.. Sane lilctes wittrout bcpanding ttre Usr.:al Stretch
F '
ir-
*. e) z
F

E. bpanding the Stretch betereen the First ard Seocrd Fingers

while Shifting position by Alternately Substituting
the Secrcnd Filger for tlre First or the Fourtlr Finger
for the Second on tlre Sane ltrotes

x5: The other fingers move awag from the

f irst f inger when the su.bstitut:.on
occuls.

x6: The first finger shortens the stretch

between it and the second finger when
the su-bstrtution occurs.

F' Shiftlng Position and @anding the Usual Stretch

by Ocliguely Dropping ttre First or Fourth Fingers
a Half or htple Ttore Higtrer or Lcner

x7: As the first finger sLides a semitone

upward, the other fingers, together
with the thumb, rise in the air, and
with a sudden motion, exynnd the
stretch to a whoLe tone.

x8: The stretch is contracted to a hal-f

tone in the reverse of the manner em-
pLoged in x7.

x9: Be sure that the first finger onJg

sl.ides a semitone downward as the
fourth f inger sLides a wlpLe tone.

Special Note to the Student

In order to employ the third finger in

all exercises in this chapter, these stud-
ies should also be practiced in the form of
their enharmonic equivalents.
90

C}APTER 27
SHIFTTNG FRO{ TTIE F,OURTH
IIVIO TT{E RATSED THTRD POSITION,
TTR*JGI FINGER SLTDES, AI{D BACK AGATN,
SUBSTfTUTTOTTiS-ffi STRET.}IES

Special Note to the Studenc

The relationshj_p between the raised

third position and the fourth is-the same
as that between the half
position and the
first.

r - 1 b ) 1 ^ a , t^l t)-l{-. t---' d),,t.^-1 4 e ) r-+1

(3 (=)

-rr-, O t

Vari-ous Shifts between Two Strings

b)
.| 4.?al ? 3 .
i\1
 T . ;

.@,o x t
where there are two string symbols in this and subsequent
exampJ-es,
the student may erect to play on either string with
the appropriate fin-
gerr-ngs.
rolal
o) il'[!J 2t t 1 z 2
bll I c ) l gl t l
a' e'
I
.4.
JCJ
@.
92
CHAPIER 28

TI]E C]OSE A}JD OPEN FOURIH POSITIONS

In the fourth position, the dist.ances between fingers are naturally

smal-Ier than in the frrst position but the
relationships between the fj-n-
gers remain the same.

A. The Close For.:rEh position

lv0 lll0 ll0

Finger

tr
tr
tr
Table of Enharmonic Equivalent Fingerings
for Each String
t 2 3 4
16' ofo <> r 4
o

enharmonicall5r
efgfo
DJLIIIII'Ig IIUIII Ene Lpen .r'rrst yosrtJ-on
into the Cl_ose Fourth position

with the same finger

4-! 1-+ 2-2 1-z

from the Lower to the upper f i n g e r

4
t-'2

(c) from the upper to the lower finger

-t 1:o
94
C. Sh-iftllg fron ttre Cl,ose First position
into ttre Open Lo*ered For:rth positron

(a) with the same finser

4-t 2-2

X1

1-,

(b) from the lower to the

2'2

from the upper to the Iower finger

t_,
n b<ercises in Shifting frcm tlre Raised First position
to the Close For:rth position on the Seond Strino

@
96
E' !\:rbler Eb<ercises ix shifting position
frcrn the open First
to the Close For:rth Fosition

(a) with the same finger

(b) from the lower to the upper finger

3-4

(c) from the upper to the lower finger

4-2
 Special Note to the Student

i
:- ff the enharmonic equivalents on the
ai lower line above are not played in equal-
r tempered intonation, the fingers which play
? the al-tered notes - the E#, the A#, the B#,
the D#, etc. _ will 1ie somewhatnearer the
bridge than they would when playing the un-
altered ones. That i"s, the E# wil_I be high-
er in pitch than the F!, the A# hiqher than
the Bf, the B# higher than the Ch, etc.

a
l3l trl EI
l3l
LA LA t3l

n Y
0 )- "
lEl*
1
1a-,
u) E

ll0 __ i l o_ . , _ _
l0 il10---_ tv 0

t0-. - lto lo _ ll0 t0 _, ll0 t0-- _ ll0 _- 1il0

irr *E g ) 1
1
t
-1-i-=:"/ hr

ll0-- t0 - lyo_ ll,o tvo_ ilto_ llo_ ll0 --

tflo ll0 _

o,oHb,F g,rro,H

e)[
98
F. The Open For:rttr position

lv0 lilo lt0

Finger

tr

TabLe of Enharmonic Equivalent Fingerings

for Each Strinq
.\r 2 ..8 4
De lrl 90. {D

enharmonically

Although both are considered normal stretches, greater effort and

physiorogical difficulty are, nevertheress, involved in correctly mas-
tering the open stretch than the crose one in the fourth position. The
main difficulty is in the necesslty of the first finger - though at a
whoLe tone removed from the other fingers - being able to (l_) rts
retain
perpendlcular rel-ationship to the plane of the fingerboard, and (2) its
abirity to touch the string in the same way and with almost the same
part of the finger as it does in close position,

To achieve Lhis, the arch line of the other fingers from the knuck-
les to the tips must be l-owered in relation to Lhe fingerboard and made
flatter. of course, the internal relationships of the fingers to each
other remain the same after the line is lowered. The thumb arch also
flattens out, moving in tandern with the knuckles.

rt is possible to move from the close to the open position in two

r'rays: by raising the first finger obriquely and dropping it perpendic-
ularly, or by sliding it along the string.
 @ r fo

-1----

G. bcercises in Shifting fron the Close First position

to the @n Fourth Position on the Seond Strinq

@
100

H E:<ercises in Shifting frcm the Cl-ose First Position

to the Open Fourth position on ttre First String

with the same finger

(b) from the lower to the upper finger

@ 2-1 5t
@
@
 (c) from the upper to the lower frnser

r. F\rrther D<ercises_in str-ifting fron tre open First position

to the Open Fourth Position

(a) with the same finqer

4-! 1-a
I +-ZJ ni

fr_3l0)

(b) from the lower to the upper finger

l-r-Elol l'-? 3-t

I02
F-alo) n - 1
a -
1-,

+f'll
l 3 - 4 1" ' 3-2

/ e l from the upper to the lower finger

[T:r I ol 2-l

lzril o)

fs-T161

Eilor

Renember that at the shift the thunb

of the Teft hand. remaLns alwags jn contact
with the fingerboard, and that all the fin-
gers are constantLg in a verticaL prsture!
J. Exercises for Trarrsferring the Close and Open Stretches
of the First or For.:rth Fingers from the First rnto the Fourttr Position
rrn F=-lF-_rl

fn the same way (with the same chromatic alterations)

trI@ E:ti it _;l

a)

Variations for the bars:

104

Variations for the bars:

@ ^ @

K. Variations on the previor.rs rcises

to+
E
e)

0F1-a- ' z

e )
t a g r r fr
g ) 1 2 1
" | 7 4
 ,/--:;> z----\_
rh- *r L^\

L. Various Shifts to the Fourth position

ffir

llo

rrn o)c

o l I G!-o
106

':rJ {1,,r^,d)
lllo +

A3 1

ll0 l 0_ - . - - _ llo t0

r 4 r 4 t ' 4 t

,y ---/
{t
M. The Raised For:rth position
IV0 lllo ll0

Finge

Because of the construction

of the ceJ.l-o,s neck, it is not
pssible to keep the thunb pre-
tr
ciselg bel,ow the second finqer

tr
in thjs psition.
This, therefore, ma7 prop-
erJg be counted as one of the
highet positions since one of
their claracteristics invoLves
noving the fingers awag fron the
thunb. tr
tr
Table of Enharmonic Equivalent Fingerings
. for Each String

1 +2 5 4
+ fl= + *= + 3 4 + 4 t i + z 3 4

lo
cnhormonicolly
b=tsEe llo

be t.. bo
lllo lvo
108
N' changing frqn the close Fourthr Position to the open Raised Fourhh position

-bg raising the second, third and fourth fingers obliquerg

(during the rest) , and dropping them vertjcal_l_q.

@-, E-'* @.- tr llj a E l

t-51 t-51
LA i Er Htll l- lal--.
L3\
@-z
13l--
a_2
l+l
til
o o o J o
" J " J o o o

Shifts by sliding the second, third and fourth finqers

r+lt lal--.
H'
LilJ
ll , tt l l. ,"
ri!
l3l- *
L?t-*
.---J ,.t:J-iJ

x) from this sign onwards, we plag on

strings I and II, but the first finger re-
majns on string fII where it has been be-
fore.

o ) r 4 o ) 1 3

u / l 2 + 2

rT-n
u J 4
 BOOKl/PAR|rTrRm 109

The upper positions and. their Approach throuqh Finger Extension

Chanqes

CFIAPTER 29

TIIE REIATIONSHTP BEIWEMi fi{E FIURn] AI.ID TT{E "OCIAVEI' POS]TIONS

The left hand is in an ,'octave position" when the first finger is

placed on the note an octave above t h e o p e n s t r i n g
tunj-ng. The relation-
ship between fingers is the sane as in the lower positions previousl_y
discussed.

A. The Close, Qlen ad &tended "Octave" positions

Close "Octary'e" position Open "Octare" position

Close "octave" positron (plaqing A - n a E u r a l _/ B-flat C-natural)
/
la ?b
IIO

ncended "@ta\re" Posilion

inger

t{1))
"v

=F,=+--=".L*r3loi*>-r_j:t-e*h
-+i +--.:-.--.---l----. .- -r.-
tl i1- ;:_---:L'-
--::--.
*]:: .-'------fl
 u1
B.ScrrreRetatiorrshipsbetrpeent}reForrrtharrd''octarre''Positions

Close Fourth Position Hterded Fourth Position

ard fuen "octave" Position and D<tended "octave" Position

F inger F inger

c @
@
@ @
@ @
@ @
@ @
@
@ @

-a.34 1 1+?I z r13

r+2tB
LL2
CIIAPIER 30

PREPARATOFY DGRCISES FOR TT{ECORRPT PI'ACEIVE\II

''OSIA\IE'' POSITION
OF TI{E LFT TIANDIN

r r o lI +

1 1 r l f
2 2 1 . / 1

x: Rathet than wait to attack the F

on its regulat beat, the third finger moves
higher when the first finger hits the first
note of the fitst measure.
 ? l , . l
-tq

r t3

tr-- --
r-rn
I Ll

Xc .x

x x

X: Rather than wait to attack the note

r e g u l a r b e a t , m o v e t h e t h i r d finqer
on its
first note
highet at the same time that the
in the bar is PTaged '

Variation
II'T
CHAPTER 31

DffENS]OI{ D,GRCISES E\4PIOYI}IG TTIE FO{IRTTIFIN@R

Repeat each two bars, then the entire exercise'

X: The second finger shjfts its Place-

ment after the fitst note of the fitst meas-
ure.

variation
 l$
everY bar seParatelY, then the whol-e
In the exercrse below, Practice
exercrse.

b )r r l r r . l t L t q

CHAPTER 32

DGRCISES FOR EXTNJSION CT]AI\@S

BEIVTffiN TIIE SECONDAI\]D TTIIRD FIN@RS

:'.' whiTe the second f inger sLides at

temains fixed
this point, the third'finger
to the first fin-
so that its tel-ationship
ger is augmented bg a half-tone'
Ir6

,l--l
& n 4 n
'{-9'

3 - 3
l,.--- |
d f 4 *o
 3
o
+4. d-
l'
fo dA
. r _ ,

3 - 3
 on the diamond-shaped notes insures that
KeePing the silent fingers
remain in therr ProPer relationshiP to each other'
the fingers

SPeciaJ NoXe to the Student

Where Possible, the exetcises from 7

to 3 slpuTd be ptacticed with the fitst
finger on the fotTowing wltoJ'e notes:
L20
CHAPIER 33

SHIFTING TI{E FIRST F]NGR

WHILE KMPI}G A VflHOLE_TONE STRE'ICH
BETWffiNFINC'ERS TI^D AND I]IIREE

fl-f-l r. a 3 3, ? 1
rEl 4
3.
,,[1]
l - l

3)

CIAVE LEAPS USING AIi I}TIERMM

MA]OR OR MINOR SIXTII AS A BRTDGE
L22
CHAPIER 35

ffMCISES FOR GIAVE-I,EAP SECURTTY

,'7tr 3
\ .,t4 \ '.i
\ .,url \ ,{4

tr3.-r .4 c-\

r '.i \ ,Ti
-g
,
^al 3
\ ,.^

3 . 3
3/! C\ ,:al \ ,2f:
 L23

\
2/-t
.)
\ t 1 '.1

ta: 'ral -
,A 4a-:
rl

GAPTER 36

SI'IULTANECIJS POSITION AliD STRIIIG (llAN@S,

SCI4ETIMES USING OSIAVE LEAPS

i l o 3
124
 L25
Variations on Exercises I, 2, 3, and 4

1 LeC. 1

l ll 0
tvo
lv0

4 t1
4 .1

tv0
lv0 lil0 Il l 0

3 .1 3

tv0 lv0
L26

sirnile
 tC> si,nfite ,--

Ti 1

lv0

lt0

vdTaj)> .-.

I
C
I
I

=
I
ll l o-i-

l _
1
I

l0
lv0 ll0
1 _
1 1 a??t

lt0 - i
iio It.
128 the following pat-
Practice the exercises and variations above with
terns:
b)

Variations Combining the Lower and Upper Positions

Further

Also practice the variations above with these patterns:

 L29

t*i--.-n
@ 1 4 1 4 4 z
130

+3 1#,

________________
-- - - '

---
 t3I
above with this pattern:
Also practice the variations

.;}

SIREI(}I DfIENSIONS BEI9IEn{ FINGERS

ToTHEI}]'IER\/ALoFAF0[JRII]o}JTI]ESAI'4EoRDIFFERENTS'|R[NGS
L32

E EI
a) l3t B q
l.) |
l/r I L1 r"2!
i'-T-fll 4 r-4, r\ 1

/'t.'

3l', 4n 4
;J - 7 t

j-l
1 ^--\ .--, z: r\l ---
 133

3-^- 3 1 3-,^ 4
134 CT!\PIER. 38

AND ARPEGGIOS
DGRCISES IN PIAYING CXIRON'IATICSCAI'ES
SEVE\TN{ CTXf,RD
CDI TTIE DIMINISHED

tlo setflpre

llo semPte

llo senpre

b) zr | I \ '
a ) l l \

llo setnPre
 tL
I | '\ , n !1.,n=t \ ?

I T t Lil r I

llo senpre
lvo ltto ilo lo

Variations
' 1 I \t-li 1 4r4
 r37
(S.J-O PAI{I
fot
Piano
Eleven Pieces for Cello and
(Book One/Part o n e )

(These Pages mag be temoved fot Performance')

SOLEMN PRELUDE

MEI.ODY
Andanfu cautabile

DUEI
138
MINUST

ROMANCE

Moderalo
 I39
BASSO COIII.INUO

Andante

Adagtocantabile
r40
SALTARELLO

Allegro

_---

TIIE WIND SCOTIBING TIIE FIELDS

Allegroben ritmtco

il
L12

THE COMPLETE CELLIST

(The Matz-Aronson CelLo Method)

CONIENTS OF MK TVD

PARI ONE

Advanced Left-Hand Dexteritg ;

Exercises in Percussive Finger Action
(IncJuding "The Geminiani GtiPs" ) ;
And Other Exercises for Strengthening the Fingers
and Making Them IndePendent

Percussive Finger Action in Left- Exercises for Finger Indepen-

fUrd arpeggios dence with One or l,lore
Fingers at Rest
The "GefiLinian-i Grips"
Double-StoP Exercises for
D<e{cises il Persussive Finger l4enorization of Finger Place-
Action on llruo and Three lrEnt
Strings in A11 Positions
ard tsreYs

PART T$D

Further Exercises in Percussive Finget Action

nlrther variations ccftbinjnq

Tte si:<teen Basic Finger4ranging
patterns on ttio-Mj""""t Sfriigs Similar Patterns on ttre D
in Close Position and A Strings
(The sixteen "Grips" )
variations on Each Pattern on
Suggested Variations on ttre Fj-rst A1I For:r Strings
and Seoond Basic Finger-
Changing Pat@rns
 143

PARI T}IREE

Tntroduction to Thumb Position;

t^
es i, ",2"12'r:,:"^:i1:,""' !I!'l-1:";::2:' to scat e s tudv;
,studr o
Ptel-ininarg Exercises for SQaLes;
TecIu'tical- Analgses of ScaTes and Chords,
and a Sgstematizing of Majot and Minor ScaLes
Accor(ling to the Chtomatic Series,'
A Definition anc! Illusttation of Natural and ArtificiaL Hatmonics

Ttrur{c-Position rcrses
Thurb Position

Basic Finger-Ctranging Patte boring Strings

Fi Substitution of

S es in Percussive Action as Prel- rcises for Scales

Prel ies to Scale StudY
Position to Position

ts of Sliding
ics

(l4aking the Thumba Part of

the Hand)

FOUR

Right-Hand Exetcises

Borirtgs S l€ights

Tonal AspecLs of tlre Six ic Do d RhYEhTLS

Bor'rings
Bor^ring ises with rriPlets
Stroke Variants
Hercises lc6nent
Daily Exercises for Elastic- of the Rigfrt
ity of tlre lnirist and Forearm
Arpeggim ot