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Volume 91
QRSRORSD ASH

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Practical Method¢
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NICOLAS. LAQUREUX
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SCHIRMER’S SCHOLASTIC SERIES

Choco
PAT)
VOLUMES 90-94, 146, 147

A PRACTICAL METHOD
FOR VIOLIN
ba)
? i>

By
Sey
NICOLAS LAQUREUX
Le:atten
atltee
Adopted by the Conservatories of Brussels, Amsterdam, The Hague, Glasgo
Cologne, Aix-la-Chapelle, and the principal Academies of Belgium, Holland” Y
is
Rhenish Prussia, France, South America, etc.
Cae
)to Translated from the Third French Edition by

Y
¥
Dr. TH. BAKER

IN FOUR PARTS is
en!
Saas
ee
PART I: Elements of Bowing and Left-Hand Technique

PART I (Supplement): Thirty Progressive Studies in the First Position

preceded by Preparatory Exercises sae
Cot
LL):

PART II: The = Positions, and Their Employment—Practical Study

f the Démanché

PART II (Supplement): Twenty-Eight Progressive Studies preceded by

reparatory Exercises
(ose
DL
Cot
PARTS I and II, in One Volume (Without Supplements)

PART III: sprseof Bowing—Preparatory Studies to the Kreutzer, Fiorello

d Rode Studies

PART IV: Virtuosity of the Left Hand—Exercises in the Form of Legato

Scales, Arpeggios, Double-Stops, etc. th
Cot
ONL»

G. SCHIRMER, Inc., NEW YORK

c=—5—

Design Copyrighted 1917, by G. Schirmer, Inc.

 Method for the Vfrolin 1
Practical
PART I. The Positions BY NICOLAS LAOUREUX
Violin “methods” generally pass from the first position to the second, from the second to the third, and
so on in numerical order.
- To go directly from the first to the third position seems simpler and easier. Later, the pupil will find his
second position between the first and the third. Moreover, this manner of proceeding will allow us to begin,
‘at the same time, the highly important study of the shifts. To learn the fingerings of the positions seems,
at first,tobe the difficult point. Yet this is only a matter of memorizing figures.
‘Take a pupil who already knows his positions, and give him a fairly rapid slurred passage going from one
4 position to another. The difficulty which he will encounter in playing it will be precisely in the changes of po-
ny sition which we call “shifts.”
To forestall this difficulty at the outset by numerous exercises in shifting,is absolutely indispensable.
It is important, in order to shift easily, that the pupil should hold the palm of the hand well away from
| the neck of the instrument, and especially avoid resting the hand against the edge of the violin when
ry arriving at the third position. The thumb should not be bent round the bottom of the neck. This would
cause a displacement of the position of the hand, and would later render the shift from the third to the
“ fifth position very awkward.
In both the 1 and 34 fdsitiéns keep the thumb opposite the first finger
1stposition’3%pos. ast 34 pos. 18 pos 34 ae
2 é 1 .

a OEE A
* EBL 2 Se SESS OS GN TS CORR ERY A OED Ieee eee
LF ee FARR LET bet a” Ge BT RES ay Re

Copyright, 1907, by G. Schirmer, Inc. Copyright, 1916, by G. Schirmer, Inc

B2S0Ke Copyright, 1911, by G. Schirmer, Inc. Printed in the U.S. A.
peas —————-~-~S-~-~S:—‘S™”:*é‘:;CSF

34 position

34 position

34 position

34 position

22693
 Ld

Etude in the 3% Posit 10n

22693
Sadak

Exercise in the 84 Position

Use the whole bow, the fingers striking firmly.

Moderata

| cn SERS a
LL
ail
il
is
|

22693
 Exercise in Going from the 15' to the 34 Position
Shift with the open string. The thumb opposite the first finger. When shifting, let the hand slide
lightly without pressing the neck.

=
TCHAD CARER Oe AR oS _
A AS a a
S| _1_| © |) ay
8 a TD ES ES RS EO
a ey Se ee

en

fy
“ AST | CCS RED GSE ERS Heme
J
f=
=)
Seale-Study inthe 3¢ Position

The pupil will have to pr actise the following exercises until the passage from the 1st to the 3¢ posi-
tion becomes quite easy wit h any finger.

Ch €
c
fae ra &o omq ap ~ a ®o Quy(2) 8 —_~~ —° =) 4 oo~ B= E Q Pm he ® =| ~~ fy i= &0Fy
—oad m

aSaea2
ortamento must start from the first not e,i.e..the finger of
a
ca ° & 3w we fa © S Ooi he higher position beforethe one of the se-
ss

cond note touches the string.

a8 esses
Oy 4> SERS bangooes
BESS
BSon oe
Be Sao
a)
he
Shgs
So a i (=|o*%
a ca~~aHeion
=o
omnoe. Bess
“ere
eant only to in-

a0
a
Ww Oh sO sheeSoo
Bao BSs
osi-
of posi
Bela A.
s--
eoaw et et on Fo
a a©® ~~ ce) r=]~ ~ility
p>
& A, 48
© 0 ™ 2258
Beis aw
ce

N.B. The small note should not be heard.

Pl ay each measure 4 times.

22693
22693
 °
, CREBAES

2
2

22693
 (Coe OU) SN: PUSS LAR SA TE Ce EN TE A LF SS a SS TS
eee Ta yn PE BE) SRP OS SO LE TA BE OC SL I
a VE

a. POLI SE LOT EOE REALTOR, |

ee ae es NEee 2
ee iee e
55 cA x eae Oo Ee LOM Fees eee bes
rs

8 i Et oe ee 7) ES ae ah baal ~
ak Cen Be BS Se RY SED ES 6 AS ee Se
= SS. EEF ONG FT RT Ee Sy RRP ED A Ve
eeS|
SE EE

a 9 a
2 PF SR OS, ee
>t...gf & |
a See |
(0S, Ie ERAN RS a RA

> ~ nw te)

ne | | eee ———H
ee ee ea ne ae
Sys Gai Go) Se, RasSa A Ee es ee

A
« , WES «WERE
LS) ORR teSIGSOO REE
a ee
10
MELODIE
Exercise in Shift ing

The shifting finger must move so rapidly that the slide from one note to the other is inaudible.

Andante

i]

Piu vivo 4

a
.
(Wall
f
s a.)é
i
ll.
2 |sH°

|
ag?2 iia.
TS

ny

it |
Ih
TPN)
HH C|
| il

22693
 12 Ld
ETUDE

1st and 34 Positions

Moderato , largamente

| BE OF SN Pe a | tt UR SS SS Be RETEEE
- Re CR HET Se SE SE Sr SBS SE We Sy SSE A a
f.. MMe MEE Th TS A MRD SER is | Sis SES TART ee Se A SS
08 SE PO 8

22693
 13

a
a
—///ds/

Extension of the 4° Finger in the 34 Position (Harmonics)

By extending the 4th finger in the 34 position one can get the harmonic tone an octave higher
than the open string. It is marked ,which indicates that the finger must only lightly touch the string, without
pressing it.
N. B. To let the harmonic sound, the other fingers must not touch the string.

22693
4+
The harmonic ma y also be reached by starting with the 4‘" finger from the 15* position. Let the hand
slide gently from 15* to 34 position, while slightly raising and extending the 4** finger.

ETUDE

/ ; I ‘ : : 4 i| i

22693
 On the 24 Posit 1i0n ’ lying between the 15* and 34
The preceding exercises in passing from the 4%*to the 34 position, having given the pupil sufficient
practice in shifting, it is well now to introduce the 2¢ position by progressive exercises. This man-
ner of proceeding wi ll have the advantage of showing the pupil in what cases that position is used; ’
moreover, it will mak e it easier to reach, as similar or corresponding passages, with the same fin-
gerings for the corresponding notes, are given in the 4°t, 24 and 34 positions.
+)

24 Position

22693
 24 position

24 position
4 32

24 position 34 position *

(genial
enna SE ereee OTA
CREEL LOLS PRT BEIT E

* For the sake of brevity, the position will hereafter be indicated by a simple Roman numeral (I, II, III, ete.)
22693
 17

SaaS ee ere
ee
|. RRR FDO wereemena euees IEEE asin, wer wooo CET
0 OMOEA:EB

Scale of G major in the 24 Po sition

 Keep the first and fourth fingers on the strings as long as possible.
I

22693
 19
ETUDE
4st b) 2d and 34 Pos it ions

22693
20 a

ETUDE
(1) Two bows to each measure, very slowly.
Andante

ee ere: i js
Saad SS EE ——— ——~ 2 eet ee ee
Ay ed GS ey ea GR ES SOS BRR sees RES
ae ne eS
—

aa ee ee el
) ale SNS SAT PRS CRED a CE OL! WR | he
i aes es

, ze | FS SR

22693
PR TF REET U t b|
gLfaas

SEA 0 Rd
ee 6Oeee om

sR:
| OE GE EE 8 ORF
,
|

: !
ee ee ee eS SS
Mbet
la oe ee! ee

2269 3
 ETUDE

To be practised at first with broad detached strokes, from middle to point.

Moderato

p||

hi
i
i\
1

af
|
1!

i| s
1

ll

il
:
Co
I
a

il
"

22693
 f | | 7 i 8 l 1 i|
il 1
I|
j i i i |

The Octave
Preparatory Exercises

Keep the fingers on the strin gs.

24 6

ETUDE
N.B. Keep the 1%¢ and 4th fingers down; ’ lift them only to change fingerings or strings.
 Same Exercise with Grand déetaché

22693
 26

DOUBLE-STOPPING
The P upil finds difficulty in distingui shing between major and minor intervals. Besides the fact that
his ear is not traine d to recognize two tones at once,he has no exact idea how near together or far a part
ar e the tones forming these two intervals. In order to render the work clearer and easier we shall
begin with broken intervals.

The Sixth ? starting from the Octave

Without lifting the finger to pass from one octave to another.

Movement of the wrist.

Keep the 1St and 4th fingers on the string.

22693
 27

22693
28

In play ing sixths, the interval of separation between the fingers is either one or two half-steps,
according to the ke v3 in thirds th e interval of separation (not of pitch) of the fingers is either three
or four half-steps. In order that the pupil may not be in doubt when he has to play two notes at one
time, we shall employ the follow ing graphic signs: -— indicates ? in sixths, that the fingers are two
half-steps apart; in thirds, that they are four half-steps apart ; Jindicates, in sixths, that the fin-
gers are one half -step apart; in thirds , that they are three half-steps apart. To sum up, in either
sixths or thirds, r— indicates the larger interval of separation between the fingers.

22693
 Octaves, Sevenths, Sixths
Keep down the fingers which take the octave.

22693
30
Octaves, Seconds, Thirds and Fifths

Set the 1 st finger squarely upon the fifth at the beginning of the measure.

22693
 31

A Special Study on Th irds

22693
32

N.B. This study serv es as a preparation to the following one in double-stops. The
pupil will have
after being placed on
to keep the first finger on the string throughout eac h measure; , an d the others ’
the strings, must remain till the end of the measure.
taccato secco

22693
22693
 ETUDE
Review of the Double-stops
Andante

22693
 la 35
ETUDE
The D étache With the whole bow, separating the notes,
Moderato

22693 ©
36
TRILLS
Their Divisions and Endings

Lento

22693
 37

EOS TUM 1 Re Oy Eee Oe

_l) 2ST Ga" See Se eee eee"

22693
38
Lento

—
a te (alg
oD | af | lg la

ee
oe ee
Ears

i | I a

|
ata 8 WE Se es GF
aSah Om Se
aie Ke a TP"a.

99
~s 693
 39

a
FR RS RR ell rs

PREPARED TRILLS

|»
a ‘ i 1 j 1 i : ‘ i ‘ i } a ’ thiLL
f 2. # 2. £ . @ 4 8 2 fs
Cho
i
GS 2 a

YS:
- Ceseeme

| | | i | | | :
22693
40
Beginning the trills slowly, as in the preceding exercises.

similarly

STUDY OF VARIOUS TRILLS

22693
42
THE 4th AND 5th POSITIONS
a“5BEoH
mol sess
a
® weesa oF
Ss, adv
®D =
“eqs 23 first to the fourth and fifth positions , the pupil will have to bring
a goes
3 a Pre
©~ a4 and hold the neck between the first joint of the thumb and the
zo ao
et
mt «aERe eH
— so that he need not alte r the position of the hand and will have the
Ss8
~—
“—-
[=I =|© ses
ou
22
d placing his fingers in the fourth and fifth positions, as in the first.

22693
 4th position

Seale in D major:4th position

Seale in E major: 4! position

22693
 In shifting to the higher positions the thumb must move an equal distan ce with the hand until the
thumb reaches the curve of the neck w here the latter joins the body of the
violin. This is about at the

22693
22693
 III II

iiii
«

* a. Ur ee Bae
(Res Bea Soy + ead So Oe oe
Sika aa
i
)

a” a Re Sita
i
:
i
}
i
i
:
|L

Sete MRR HST ——_ a — a

Octaves, in All Five Positions

22693
22693
Study in Octaves in the Five Positions
 Exerc ise in the 5th position

Exercises requiring the same fingering in the five positions

4
oa — °o wm —~~ ° S

22693
 Study in the Five Positions
Moderato -Sostenuto
IV" 28> 3

22693
 Exerc ise inthe F ive Pos

—_

nNa=] i ° n ye}J ° I

=
Ea ER fie

position

22693
4t» position

5th position

ETUDE ON THE MARTELE

Moder ato

segue

.' ‘ ‘ ' : ' - ‘' : : 41 ' '' '‘ ‘'' : 1 \1 ' '‘ ' 1' ' '' : 1 4 1 H; ‘ '' | 'i'1} ' '‘
 53

22693
54
STUDY IN THE FIVE POSITIONS

22693
 STUDY IN THE FIVE POSITIONS

22693
56
ETUDE
N foderato
= —
astae et
Cl iat a tal. | — ££ — ia
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FOSS
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~_——_ SGT ae ee A A i BH POE ES SS BES
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 SCHIRMER’S LIBRARY
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A 573 Published by G. SCHIRMER New York
 SCHIRMER’S LIBRARY OF MUSICAL NO CLASSICS
COMPO SITIONS FOR VIOLIN AND PIA
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. 37. fi Trovatore. Fantasy
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1115 «Op. 30. fae de Bade (Spier-
4113 47. Faust. Concert Fantasia
Splering) Op. 41. 6 Solos
BEAZLEY, J. C. MASTERPIECES FOR
920 18 Original Melodies THE VIOLIN
Rdived and fingered by Henry
733 . 61. Concerto, D (Schradieck)
2 bo Rae (Op. #@, & Op. 58, F) 354 Vol. I. Ernst, Elégie; Raff, Cava-
(Schradieck) sion) Tiewstomne, e
74 Sonsta. Kreutzer, Op. 47 (Brodsky) 366 0«Vol. II. Wieniawski. Op. 12, 2
Sonatas (Brodsky Mazurkas (i, ; 2. Chan-
eon ), and Op. 17, Lé&
e
359 Vir IIL. Spohr. 3 slow movements
from Concertos Nos. 6, 9%, 11

MENDELSSOHN, F.
23s beone Concerto, E m.
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MITTELL’S POPULAR

or performance.
b on hg pg 2 vols.:
1152 Vol. I. 23 pleces
1153 Vol. II. 21 pleces in let and 3d posi-

MOLIQUE, B.
. 21. Concerto, No. 5, A m.

MOSZKOWSKI, M.
Dances (Spiering)

pri
ERNST, H. W.
ie (Schradieck)
e same. *Masterpieces tur

Op. 8. 6 Little Duets, for one or ing

FERRE
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2tt
two violins
Op. 48. 6 Little Duetsfor one or
two violins and piano (Hermann)
RAFF, J.
Cavatina. Op. 85, No. 3.3. See
G N . W.
“Masterpieces for the Violin.”
. 85. 6 pieces (Schradieck)
as
GRIEG, E.
98@ © «©6Op. 8. Sonata, No. 1, F (Lichten- Rage
BER
ER Teck)
5340p. Sonata, No. 3, G (ichten- RODE, P.
981 Op. 45. Sonata, No. 3, C m. (Lich- pT i niramerr ne i 7,Am,

7% Op. st Peer Gynt Suite (Sitt) ~~ rd Geena: No 8, Z m.

HANDEL, G. F. tenberg-Hermann)
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Sonata, A. for vi ith
base, afr.by F.David (achradiect)
ured SAINT-SAENS, C.
Op. 28. Introduction and Rendo

52 op. 10. Op. tl. 3d Concerto,

B m. (Sauret)
SARASATE, P
HAUSER, M
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ESES
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Op. 28. weal ag¢
SCHUBERT, F.
VIOLINS AND PIANO |}
1068 Ri 43. weno rhapeodie

LALO, E.
tinas oO
1236 be,Fe Symphonie espagnole BACH, J. S.
Concerto,
LAUB, F PLEYEL, I.

722 «=6Sonata, No. 3 (Lichtenberg)

Rotine wadey, SEE
In ordering please mention Schirmer’s ponte fand give numbers
Complete Catalog of Schirmer’s Library mailed free upon request.

Published by G. SCHIRMER
 ‘Works for Violin Educators
By WALLINGFORD RIEGGER
| GRADED STUDIES in Ensemble Playing
xt FOR PIANO AND VIOLIN
‘With Explanatory Material and Twenty Original
- Compositions and Transcriptions
GOONER or laterevery music student is called uponintoa take part in some form of ensemble playing—
accompanying, ‘or performing larger group—yet the training he has received
on his own | a partial preparation.
nt igat best but
; Teistor that we hear so frequently of pianists who are not successful accompanists,
esi : who are mediocre ensemble players.
is ofcourse helpful, yet unless the mind of the pupil is atoused
he vigstill oA ens cnennet ta vinghis own cobs moo ofa
to the exact natare ofthe new hom elligent codperation with others ani new pleasures from a
‘more evolved form of music. inten-
Tt was with this result of long observation, that the present work was conceived,to the
the prin-
riate material in such a way as to direct the mind of the student
art of concerted playing.

EASY OPERA CLASSICS

FOR BEGINNERS ON THE VIOLIN
Arranged for Elementary Ensemble Playing
For Two Violins, or Violin and Piano,
or Two Violins and Piano
is twofold: First, to make
2Shere object of this collection of tuneful opera melodies him
music more attractive to the beginner by furnishing easy access to some of
the “catchiest’’ opera tunes, which in their original state would be much beyond his
most popular
powers of execution; second, to make him acquainted with some of the
opera melodies as a basis for future musical enjoyment.

BEGIN WITH PIECES

ELEMENTARY METHOD FOR INDIVIDUAL OR CLASS
INSTRUCTION OF BEGINNERS ON THE VIOLIN
(Schirmer’s Scholastic Series, Vol. 165)

and the
Lh ton method consists of extremely easy exercises embracing notation, time,
first steps in bowing, intersperse d with interesting and tuneful pieces of no greater
another
difficulty. It is very carefully progressive; one stage of advancement after
ment.
- following in most logical sequence. Every exercise and piece hasapiano accompani
The piano-part never exceeds moderate difficulty.

G. SCHIRMER, INC., NEW YORK

 c]

Material for Vocal and Instrumental Study—“from the very ‘easiest t

(The Numbers listed below cover Study-Material for Instruments other than’ ‘Piano’
5

HARP TROTT, J OSEPHINE :

159. ——Daily Scale Studies. (Englishwe Sp nish text
Harpe. 174 Melodious Double-Stops for Violin..
55. SALZEDO, CARL, L’ Etude Moderne de la studies 2.75 — 192. ——-Melodious Foundation Studies for Villa. gira
Modern study of the harp. With five poetical
195. ——28 Melodious Studies in theFirst Position. ae
ORGAN
1,10 ;
11. BUCK, DUDLEY, Studies in Pedal Phrasing. Op. ey . lish i ih ¢ Stee
1.50 |
34. KOCH, CASPAR P., Book of Scales, oy. esic da eiezaae e CV ie pte Bo Se dae
}
Se MACDOUGALL, HAMILTON G.
SSS
SS
SSeS Studies... ....++ssseeeceereee Sr) goede
i
| NELSON ae Pedal
134, ——Dram ES nh cal 2 eee
hd 29. ——A cached of Technical Studies in Pedal Playing.
N Translated from the Swedish by J. E. Barkworth. 1.25
| 21. PFITZNER, HEINRICH, The Art of Pedalling.......- 1,00 | i eye a raise an rental
ROISon
VIOLIN 4. WILHELMJ, AUGUST, Exercises in Thirds
L WITEK, , Fingered Octaves
FYFFE, ELIZABETH 101. ——Part I: Exercises. Part IT: Practical Application.
j (English and Spanish texts)... ......-.. Ie Webi sea} ‘
iN 64. ——The Three R's. A Music Primer for the Violin Student 1.25
spss
103. GOLDSTEIN, JOSEPH, Foundation Seale- and 40. ZIMBALIST , EFREM, One Hour’s scaiecescanee
UU Studies. 2... ....2--5-
(Inthe first position) ..... Brf.:
3 Books: BS ; VIOLA |
: if} HERRMANN, EDUARD, 39 Violin Studies.
wll]
geiN |37. SCR
96° iBook Bi sv cihuis wcteke cee
eee
baw ante Se .
"8 SVECENSKI, LOUIS Fini
;
salad
} Rant ht sik ee ete 15 2. ——Twenty-five Technical Exercises for the Viola. elias
Op. 37. es. VIOLONCEL LO ;
Ht 162. ——12 Violin Etudes for Se oe Positions.
(English and Spanish texts) +... 2+-+.s459-
....-
) vi
22. KNEISEL, FRANZ, Advanced Exercises. Part 1..... 1.25 138. MAAS, Stand Sperinch Everisesand ey
SeleStudien.
fk Method: 169. ARERR
Practical "Cello | TO RII Ye
Hi! LAOUREUX, NICOLAS, A Practical 150
Hu) 147. Feed} and Il. ‘Combined, o205 0 .oe2ok.. eae 23s 76 OTIS, EDITH. First Book ofSeady F sali eck Mee eee
‘ . cater = Pieces... ‘Sik i A
i) 90. it BE i ee. aaleaehlim deelbeata eumaeaoaile Cikgihiial areoppure
146, ——Part 1. Supplement SPURRED OF1h ENA ARG ML a 3. LEO, Technical hinecaap aie ean
ti]
y 91, ——Part Lie LASS sla digas ee piece pair eeey 25
Po _ VIOLIN, *CELLO_ AND” PIANO
ff}
Hl
92, 2 ies Supplement...
0
3, Dat AHEM, 1...vais desibhik aia We cimeieies nian apa ana PCT
ees
avy bees creeds
LOTH, L. PSLIE, Fi Poetic Sketches Trio 1.50
gk. Rae TOE cS ete al ee eae ea Pe L.L shee fox: 0 Study
2+. .sse cn heehee er eres 1.25 - te 4
ih) 190, ——Sealesand Arpeggios.......
i) (*Also published in Spanish edition)
(uy 32. LEVENSON, CHARLES, First Exercises in Bowing. 75
{fh} 104. ——First Book in Violin Playing. (English, Frene and
Hi Spanish texts)... 0s nceabue ne de G4 sist oe ana 1.50
| Y) 119. ——First Scale Studies. (English and Spanish texts).. ‘
: ih) 141 The First Finger-Exercises. Preparatory to Ch aries 2
Hi Dancla. Op. 74. (Spanish and sogee texts). . .60
} w &. LICHTENBERG, LEOPOLD, Scale Studies. ........ 1,00
if 107. LOCKWOOD, SAMUEL Fi
Hh ——The Seales. (English and Spanish texts). ........+ 75 156. ——Separate
| 165. RIEGGER, WALLINGFORD, Begin With Pieces. Ele- 157. ——-Separate
Viola Part |
mentary Method for Individual or Class Instruction | —.
188,aaaSees
Complete. 1.00
SS Separate violin part .25 | and each...
SCHRADIECK, HENRY oe
The First Position. An Elementary Instruction Book 1.255
——— Six Staccato Studies: bo, Fs, 5 pias wae tae ene din ss
171. STOESSEL, ALBERT, Essentials of Violin Mastery. — j
Advanced studies for the preservation ofviolin technique 0 he) Beet
STOEVING, PAUL ge
The Systematic i oc the Bow-arm. 2parts:
.——Book 1... Elementary: 5). cys. us sals tole ees 1.00
Book If. Medium BY. iat
ee a ae wer
TURO E., First Steps of the Violinist:

3 SVE ENSKI, LOUIS, Preparatory Exercises. oa the Saige

Trill, the Vibrato and the Staccato. (Eng. and Span.) 1.10
Cy i ——Specialized Exercises (In shifting and crossing the
oe ;

|A
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~ $4
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strings). (English and ar a:texts)
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