Tñe Essentials

Opus 2 School of Bowing Technique

transcribed and abridged for

DOUBLE BASS
by

Neil Tarlton
 To John Bass 1935 - 1996
A good friend and wonderfil double bass player.

Introduction
by Emanuel Hurwitz

For nearly a century the exercises by Sevcik have been studied by violinists, violists
and cellists (the cello transcription by Feuilliard in 1905). So it is a pleasure to
have the bowing studies Opus 2 adapted for the double bass by Neil Tarlton. These
exercises are of great importance to all string players desirous of improving bow
control, which is, without doubt, the key to easy and confident technique.

The Student who practices these studies with intelligence and application will(I speak
from my own and my pupils' experience) find their general control, and most
impor- tantly, tone production, improving audibly in a remarkably short time. So, I am
happy to introduce this book.
Foreword
by Neil Tarlton

Sevcik Op. 2 offers a carefully graduated system of practice which enables us to experience
and develop every aspect of the bow in all degrees of intensity, dynamic and speed.

In individual and combined study of the wrist and arm through double-stopping, staccato and
constant attention to the whole bow, we get used to the rarer extremes of bowing, giving greater
competence with the more usual areas of the bow.

The study of the bowed staccato, although little used in the music we play, gives us a very real
knowledge of a bow that has no two like parts between frog and tip. The ever-changing distance
between right hand and string, coupled with the fact that every note in the scale has a slightly
different sounding-point, make it essential that that knowledge becomes prior knowledge.

The many studies involving double stops show that Sevcik must have thought there was more to
be gained than just the ability to play two notes at once. The more obvious needs to be satisfied
here are maintaining a very level bow, especially at the bow change, and the physical effort
required to play loud and slow on two strings, with an even sound.

The whole bow, in these studies, means from frog to tip and no less. The shorter sounding notes
should have an even pressure, and throughout, care should be taken to maintain the chosen
dynamic level.

The demands on the left hand are kept to a minimum, and the studies are usually just long
enough to make a particular point feel practised. Concentration being thus focused, good habits
should form rapidly and many everyday bowing problems diminish leaving the player, when
performing, to devote more energy to the music instead of to the difficulties.

Neil Tarlton is Principal Double Bass of the Philharmonia Orchestra, London, and a Professor
at the Royal College of Music.
 Contents

Part 1 : Exercises for the Right Arm

Studies 1 - 11 Page 3

Further Exercises for the Right Arm

Studies 12 - 19 21

Part 2 : Exercises for Wrist Development

Studies 25 - 26 36

Arpeggios on Three Strings

Study 32 50

Arpeggios on Four Strings

Study 33 64

Abbreviations and Signs. Abfiirzungen mid heiclien. Abréniations et sites.

l/Y, Whole length of bow. If. Ton I l'archet.

H. Half length of bow. H. Moitié de l'archet.
l.h. Lower half of bow. l.h. La moitié in/érieure.
u.h. Upper half of bow. u.h. O6ere HâLfte. u.h. La moitié supérieure.
1/3 B. One third of bow. I/ 3 B. 'Ein Orittet Yes 1/ 3 B. Uh tiers de I'orcheL
ff. Frog end of bow. 'Bogens. ft. Am'frosch ft. Talon de l'archet.
M. Middle of bow. Yes 'Bogens. M. Milieu de l'archet.
pt. Tip end of bow. pt. Pointe de l'archet.
M. Miite Yes Bogens.

M* In the middle, and then at

the tip and at the frog. M* In der Mitte, Tann an Mr M* Du mities, de
3 pitse und am'frosc . la pomie ef du fDl0IJ.
Down bow. Herunters h. Tirez.
V Up bow. V lines/strict. V Poossez.
— Broadly detached. — Brett stofen. — Détoché large.
Staccato or martellato. • 5 taccato oder marteLlâto. • Staccato on martellato.
* Spiccato, saltato or sautillé. i Sf›iccata, saltato o‹ter sautitLe. * Spiccato, saltato ou saulillé.
) Raise the bow from the string. ) ‹Bowen iieâen. ) Lever l'archet.
Chance PubLicatiotis 1997'
 3

Part I (Section 1). Zrste A6teitung ;xeft 1). YRTI1 e Ya IR (Cah»1).

Preparatory excercises. Vorii6ungen. Exercises préparatoires.

No.1
Practice the following example with very On travaillera l'emple servant
little bow-length: a)in the middle; b)at the avec tâes pen d'archet a)du miliéu,
tip; c)at the heel. During the pauses allow b)de la pointe, c)du talon. Peridoxt
the bow to rest on the string and count les silences foisser l'archet â la
the beats of the bar out loud. corde et compter â haute voix.

Example

Exemple
M*

No.2
Movements of the bow. Mouvement de l'archet.
Play the 18 examples below without
E xécutez fes 18 examples ci - dessous
raising the bow in the following VI
des VI ma nieres enivantes.
styles:

Whole bow. o V m V
II.
Mit ganzem 'Bogen.
Tout l'archet.

Half - length.
Mit M6em 'Bogen.
Moitié de l'archet.

Bow - middle. v. I-1Vf 1V T V T

Mit her Mitte Yes V
'Bogens. Do milieu de
l'archet.

Exemples.
Examples.

*) D'abord avec la moifié inférieure

*) First with the lower and then et puts avec la supérieure.
with the upper half of the bow.
4
No.3
Rhythmic exercises and Exercices rhythmigues ef
dividing of the bow-length. dirisiox de l'archet.
Example with 57 variations. Exemple avec 57 variantes.
Sostenuto

Variations on the preceding example. Voriortten Yes

Vdridntes sxr l'exemple pté édent.
Dufing the pauses the bow must rest on the string. 'JT renf fer Pausen den Bogen
Pendant les silences laisser l'archet â la corde.
1 ( J = 66 )
Whole bow. V
itganzem Bowen.
Tort l'archet.

10 v ( J = 50 )

= 66 ) 14

Clam:e Pu6Lications 1997’

 = 66 ) 19( = 50 )
Half bow-length. 16 (
ti em'Bogen.
Moitié de l'archet.

First with the lower, then the upper half of the bow. bit her untercn, dune mit oberen Nâf Alec la moitié inJériexre,puis arec la supérieure.
tc.

20 ( J = 66 ) 21 22 23 24

25( = 66 ) 26
With half and whole bow-length. .
bit /iafée/t uañganzem 'Bogen. ‘
Moitié de l'archet et tort I
l'archet. l.h. l/I/. u.h.

27 28 29

32
30 31

33 ( J66 )34 35 36 37 38 39
At the bow-middle.*)

M. y “ " " M. M. M.

( J = 66 )
40 41 42

44 45 46
43

= 66 ) 49 50 1/ 3 B.
47 ' 48
With a third of bow-length. .
Min einem Ori¿tef Yes 'Bo@er/s.
Alec un tiers de l'archet.
Ir. Ir. Ir. 1/ 3 B.
M. i/ s B. M. 1/ 3 B. M.
pt. pt. pt.
51 52 53

54 55 56 57

*)2nd and 3rd quarters of bow-length. *)2me et 3me quart de l'archet.

6
No.4
Study in minims with 75 variations. Efude m blanches avec 75 variantes.

Andante

Variations. Wariaiiten. Variantes.

(= 80 ) 31 = 50 ) 4( -80)
Whole bow-length.

t= 60 6( = 80 ) 7 * = 60 8' = 80 )

10 12 14

(J = 80 ) 16 17 = 50 ) 18 ' = 80 ) 19 20
Half bow-length.
it em
Bowen. Moitie de
I’arclJet.

21 22 23 24 25

First with lower, then with upper half bow. bit der uiiteren, dane mit der o6eren Hst te. Alec la moitié in/ériciire, put avec In superieure.
Clam::e Publications 1997
 26 ( J = 80 ) 27 28 _ _29
Whole and half bow-length. .
Mitgarizem unit fiafâem Bowen.
7o/‹/ /’archef ef mo///c de /’arc/let. „,« h. §, u.h. u.h. u.h.
l.h. I.h. W . I.h.«

30 32

(= 80 ) 36 37
At the bow-middle.
Mit der Mitte Yes Bogens.
Dir milieu de l'archet.

39 = 80 ) 40 41 42 43
Legato.

44 45 46 47 48

49 50 52

= 80 )
54

62 J = 80 )
With a third of the bow. 63 64
. bit cram Orittcf fee fioQem. ’
Alec un tiers de l'archet.
If. I/ 3 B.
M. ill. M.
pt. P pt.

66 67 68 69

(= 80 ) 72
' 71 V
70' 73 v 74 v 75
Dotted crochets.

Noires pointées.

Chance Pubictions 1997

8
^ No.5
Detached and hopping 5tric/inrtea mit
styles of bowing.
Study in crotchets Etude en noires
with 260 variations. riit 260 ¥ariarter. arec 260 variances.
Moderato

Variations.

(= 60)
Halt bow.
bit /iaffiem Bogen.
Moitié de l'archet.

Bow-middle.

_16
Legato.

22
20

24

Ctiaiu:e Publications 1997

 9
‹ J = 88)
28
Third of bow-length.

Avec un tiers de l'archet.

32 34 -

36 39

40
Dotted crotchets.
'Pun tierte ‘L'iertef
Noires pointées.

44 47

( J = 60) 50 (— 72)

Staccato.

w. u.h. N. 1. h. I.h.u.h.

65 V

( = 1 ! 6)
67, =•>• 68 69 70 ” -
Very little bow.

Avec peat d'archet. M M*

In the middle, then at the tip In der Mitte, damn an M* M*
IO QOiYI tit
and at the frog. 5pitse ucd am ’frost:h. ct dii talon.
71

73

CWn‹:e Pu6Lications 1997

 _ -- 79 --

[Link]. tr. w. w.
‹ J = 92) = 116)
82 ' 83
From the wrist only

M* M*

87 89 90

92 94 95

Ir. \I\!. pt. W. M* M* M*

96 97

98

106
’ 02 _ 105
Syncopated legato-notes.
5yti}opierte Biiidunfen.
Liaisons s yncopées.

107

116 . 117 a

119 '
Dotted quavers.
'Pun}tierte Retired
Croches pointées.

Com:e 'Publications 1997

 1 26

( 2 - 104› very little bow-hair

136 ‘ ‘ - 137 ‘
Staccato from the wrist. .

M*
wen'iff 'Bogen pen d'archet M* y
w.

146

(= 126)
149 .150

M’ M* w. w.
154 ’ 155 — 156 . _157 158-

159 160 ... 161

( J = 104)
. 163

M*

165

M* M* M*
169

174

Chase 'Pu6Lications 1997'

 186.
185

( J = 104) v Preparatory exercise.

192=-
Viottis bowing-sty le.
’s‘Boge/tstri‹:fi Coup d'archet de

V
193 l94iz

( J = 132)
’ 96 ’ ’ ’ ’ ' , 198 ’ ’ ' ' , , 199 , ,
Stroke as if thrown. , 197 ’ ’ ’' '

!!' I spiccato
yp M. M.

fr. spiccato détaché spiccato détaché If. tr.

M.

204 i • 205,
203 206I

208 209,
207

(= 112)
213 , , , 214 ' i ' 215 ' i '
212

217 i , 220' • '

216

( I = 160) Preparatory exercise. W0r6u [Link]éparation. Do not throw the first note.
2 2g
‘ ‘ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ¥ ¥ ¥ ¥ Y ¥ ¥ ¥
HO p n
5priufend. ‘
Suiifillé. MW '£rste Note rucft werfen. Ne )etez pss la premiere note.
Wrist. Hondgekn . Poignet.
Com:e PubLicatrans 1997
 13

223 ‘’ ’ ’ ' ' ' ' ,

détaché sautillé détoché

( J = 126)
, 226 y_ 227 229
25
Flying staccato.

Staccato rolani.

230 ¿ , 231 ¿ , 232 ¿ , 233 234

(= 1 20)
235 ’ ’ ' '
Thrown staccato. . ’ ’ ’ ’
}ewotfenes 5ta‹xato. ‘
Staccato jeté. H. sciolto balzato IU. M.

239

( I = 120) 245
243
Down-stroke at the frog.
Im Heruiiterstri‹:h am firos‹:h.
En tirant dit talon.

( = t20) 247
248V
Up-stroke at the frog.
Inn Hinau strip:h as 'frosch.
En potissant dii talon.

( » = 104)>-
250 251 252
Up-stroke at the tip, as if striking.
Mit der Spitse im VimtJsmc/i-onscf eat.
Prappez de la pointe en poitssant.

( J = 96) 254
253
Crescendo-
decrescendo.

255

257
258

259

Clean Pu6ficati0ns 1997

14
No.6
Study in quavers with 'Etuke in AckteLn mit 163 Etude en croches azec 163
163 changes in bowing-styles. ¥erankemnffen Yes ’Bogemiriches. changements des coups d'archet.

Allegro Moderato

( I = 92)

T/38

21 24 - 25 .

Chance Publications 1997

 15

34 >

(= 126)
39 40 41 42
From the wrist.

M* M’

43 - 44 - 45 . 46 47

M* M* M* M* M*

48 49 50 —

54 _ -57

J = 108)
59 60 61-

M* M’ M*

62 63 . 64 65 .

M* M*

66 67 68

M*

( J = 100)
70

Clam::e 'Publications 1997'

16

(= 108)
74 Preparatory exercise.
75
Dotted quavers. ‘‘

104)
79

pt

M* w. pt. W. w. w. w. w.

89

( J = 108)
100
99
Syncopations.
Ayn Open.
S yiicopes. M* M*

gl07p 108
106

(= 132)
1 12
110
Spiccato.

116, 119 ,

1 21 122 123 124

120

125 126' 127 128a

Chance Publications 1997

 17

130 134

136 , 137,
135

139 ' ' ' ' ' , ' ' , ' ' 140 , '

pt y

( I = 80)
143 »''''''''*•'„„''''
Saltellato.
Sautillé.
M. IU. saittillé détaché

145 »''"'„''„ _ V Y V y y y Y Y Y 4 7 W V V * * * Y Y Y y y y y r y y y y s s r

M. lVl. fdétaché

(= 92)
’ 48 149 V v l 5@ 151a v o v V
V V V V V V j;j; V
At the frog v

Dir talon.

( = 104)

Strike with the tip. V V V 155 V V V V

152
eilu
Yrapp'er pointe.

( J = 126)
156 p
Crescendo-
decrescendo.

staccato - détaché
159

160 161

162

CMnce Publications 1997

18
No. 7
Study in quavers in 6/ 8 time, 'Euide in AchteLn (67 8 'Tait) mit 91 E tude en croches (mesure 6/ 8) DV8c
with 91 changes In bowing ¥erâiidemnffeii Yes 'Bogenstriches. 91 changements des coups d'archet.
styles.

Allegretto

( . = 66)

12

14 16
17 19 20

21 25

( I = 168) Preparatory exercise.

26 27 28 29 V
Dotted quavers.

Crochet pointées.
Wonibung
Preparation.

34

Chris Pu6tications 1997

 36 37 /•j V 39 40 41

( J . = 76)
42 43 45 46
From the wrist.

Du potgnet.

47 g( . = 66) 50
48 49

pt M*

54 56 57

M* M* pt.

( «I . = 60)
Dotted semiquavers. 60 61

Doubles crochet piontées

62 63 65

( I = 168)
71 72 73 74 75
Spiccato.
Sciolto balzato.

76 77 78 79 n v

, 82

( I = 160) sautillé
87 89

( J . = 66)
90 91

M. détaché sautillé
2
No.8

With the bowings of No.5. Alec les coups d'orchet du No.5.

No.9
With the bowings of No.5. bit Stricliarten aw fiO.E. Avec les coups d'archet du No.5.

'Rung Publications 1997

 21

No.12
Study in Triplets with 76 'Etude in'Triokn mit 76 Etude en triolets avec 76
changes in style of bowing. chnrigcmenis des coups d'archet.
Allegro

All the bowings marked M* TravD lllez 105 coups d'archet

to be practiced in the middle JmArte// in/er VifYe, marques de M* dii milieu,
at the tip, and at the frog. an ‹:fer $f›itze, unit am firoscfi de la pointe et dii talon.
uben.
(= 100 )

Bowing styles.

Coups d'archet. M*
v — 104. « = 120, J = 138, d = 168

14 _ in 16

_ _ 24

H.H.H. M* M’ w. w.

M* [Link]. W. M*

38 — 40

42 43 44 —

CA Pu6Lications 1997
 23
( = 126 )

Sc iolto 45
balzato
Spiccato

49 52 ,

53 56 ,

57 60

61 62 , 64

65

( = 116 )

Crescendo
Decrescendo

72

74

M. w.

75 76

spiccato
24
i No.13
Study in Triplets (3/4 time) with ftufe in'Triokn (374 daft) mit 71 Etude en triolets (mesure 3/4? DEOC 71
71 changes of style in bowing. Werâiidemnyen Yes ’Bogewtriches. changements des coup d'archet.
Allegro

( = 100 )
Bowing-styles.

M*

10 14

(= 112,= 126, d = 144 )

15 17 n 19

Char 'Pu6Lications 1997

 25

20 21 . 23 24

25 28 N 29

M* V* M*

30

M* M* M*

39

40 4l 43 U 44 >

( I = 120 )
45 46 /
ba in
Spiccato

47 50

52 56 ,

57 59 , 61 ,

62 63, 66

67
26
No. 14
Study in semiquavers (6/8-time) 'Etafe /n 5etUehiiteLn (678 'Tait) Elude en doubles crocha(maure 6/8)
mit
with 64 changes in style of bowing. 64 Veranferu gn ñm BogemtricW.
Allegro Moderato

l = 152 )

( I . = 63, . = 76 )
10 12

14 16

19 20

22 23 24

Clare Publications 1997

 27

25 26 27 28

29 30 32r•t

34

39 40

4' t J . = 63 ) 42
Sciolio 43 44
bale-ato
Spiccato

45 46 47 48

49 50

56

57 60

( I = 92
61 62

Chans:e Publu:atioiu 1997

 8
* No. 15
Study in semiquavers (3/ 4 time) 'Etude in 5ecUeñnteLn (3/ 4 ’Tait) mit Etuden en doubles croches (mesure 3/4?
with 68 changes of style in bowing. 68 Weranderuiigeii Yes Bogenstriches. avec 68 changements des coups d'archet.

Allegro Moderato

(= 92 )
Bowing styles.
3triMrteii.
Coups d'archet.
M* M*

J = 104, = 116 )
10 12

M* M*

14 o 16

M* M’

19 20

M*

2l 22 23 24

M* M*

Char 'Pu6Lications 1997

 29

25 26 28

M*

29 30 32

M’

34 36

M*

37 39 40

Moderato I = 92
41 42 43
Spiccato

45 46 47 48

49 50 52

54 56

57 59

61 62 64

(= 84 ) ( I = 152 )
65 66 67 68

Char Pu6tications 1997

 30

No.16
Study in semiquavers (4/ 4 time) with Ztofa iii 5eclisehntekti (4/ 4 daft) mit Elude m doubles croches (mcsure 4/4)
131 changes in style of bowing. 131 Werâiiderungen Yes 'Bogenstriclies. Dvec 131 Wngmmfs des COup d’DYchet.

Allegro

( = 92, = 108, J = 126, J = 152)

Bowing styles.

Coups d'archet.

30

10 12

* I The second half of each bar exactly like the first. fiñ zu'eiie 'Ta thâtfte ebenso die die erste. I ) La seconde moitié de la tnrsiire
de méme que la premiére.
CEance Publications 1997
 31

14 16

M*

17 19 20

M’

21 22 23 24

M* M*

25 26 27 28

29 30 32

M*

33 34 36

M* M’

37 39 40

43 44

M’ M’

48
45 46 47

M* i/ 3 B. M*

49 cbaché 50

CA m:e Pubtica tions 1997

 32

( = 88 )
80 82 83
Dotted semiquavers.

84 86

87 89 90

M*
91 92 94

M* M*
M*
95

98 99 100

Moderato t J = ioo›
101 102 103 104
Spiccato.

105 106 107 108 109 110

112 114 116

117 119 120 1 21 122

123 125 126

124 127 _

28 = 84 ) 29'' 130

Char 'Pu6Lications 199?

 No.17
3

Exercises in pp over the fingerboard, O6ongen inn pp am Griffbrett fur die Exercices en pg sur la touche
pour for the development of softness of tone. AusbUdung der Heiclieit dos 'Totier. déuelopper la douceur du son.

Example with 30 variations.

BetispieL mit 30 Warianten. Example avec 30 variantes.
Andante ( « = 69)

PP sempre sulla tastiera

Variations
Variantes.

V V
6 8 9

12 14
With the half-bow
Mit liat6em Bogen.
Moitié de l'a fchet.

16 17 18
With half- and whole-bow length.
bit mayhem undganzem 'Bogen.
Moitié de l'archet ct tout l'ar.
u.h.

19
20 21 22

In the middle. 23 24 y 26 y
'BY it ‹ter
Mitte. Dr/
milieu.

28 M. 30 y,

CMnce 'PubLirations 1997

34
' No.18
Continuation of the exercises in S mite des exercices en
pp over the finger-board. pp sur la touche.
Study with 27 variations. Etude avec 27 rariantes.

Moderatoi = 80)

sernf›re sulln tastiera

J‘2
Bow in e-styles.

Coups d'[Link],

10

23

Cfiaru::e ‘J?uâLicatiow 1997

 35

No.19
Exercise in sustained tones and 'Lleâu irigELteri‘Tonen uu‹tiw Excercice des sons filés et de la
in economising the bow-length, Zumc}hakten dev 'Bogens. retinue d'archet.
i.e. holding it back as much as On travailera les éfBdes précédentes
possible.
Die vorhergeheiiden Ttuden Josh- r
Practice the preceding exercises Nos 3- ucd12- 16 sink an fi q Nos 3- 7 ct 12- 16 en liant les mrsBres
7 endps
and 12- 16 in the following
pq $ q; des maniéres suivantes:
styles of bowing, namely:

a) in gfoups of 2 bars to one stroke of the bow j• a) in 2 Wa}ten water cincm 'Bogensttii:h im;f a) Par 2 ntesuresdu mérne coup d'archeten ;f'
b) in groups of 4 bars to one stroke of the bow p b) in 4 'Ta}ien unter eincm 'Bogenstric/i im p b) Par 4 mesures du mértc coup d'archeten p
c) in groups of 8 bars to one stroke of the bow pps c) Zu 8 la ten enter ei ftogemmc/i imppp c) Par 8 oiesttres du méme coup d'archeten ppp

Andante
b)P

( See page d ($ieJfi' Seite

Moderato

( page 8 )

Allegretto

( page 19 )

Allegro Moderato

Allegro

etc.

( page 28 )

CMnce PubLications 1997

36

Part 2 Hej!t2 Cahier 2

Exercises for developing Kebu ecstir die '£rt chem Excrcices pOHY le
suppleness of wrist. der Biegsam eki tttt pfs6$ I- d8V0lOpp0I110I1t Ji3 ID
dig cii Yes Handgeten}es. souplesse du poignet.

No.25
Exercises on two strings. Exercices sur deux cordes.
Example with 575 Variations.
Exemple Dvec 575 rarianfes.

I.
II.

II.
III.

III.
IV.

Variations.

17 = 72) 19 20
Half bow-length.

Moitié de l'archet.

22 26 _ 27

Ctac Publications 1997'

 37
' (’ 66)
v < V 32
3! ' 33
\\'ith whole and half bow-lengths.

Tout l'archet ct moitié de l'archet. W. u.h. l/I/. I.h. W. u.h. N. I.h. I.h. W. u.h. W.

36 37

I.h. l/\/. u.h. W. I.h. W. u.h. Y's. I.h. W. u.h. W. W. u.h. N. I.h. W. u.h. W. I.h.

39 (= 72) 40 41 !! 3 B. - 42 -- 43
I n the middle.
.â it der Mttte.
Di i milieu.

47

‹ J = 66, = 92)
57

w. w. w. w.

66

78

( = 66, = 92)
79 80
Different legati.

i(erentes liaisons.

86 -

I.h.N.u.h. W.I.h.W.u.h. W. I.h.W.u.h. Y's.I.h.W.u.h.N.W.

9l

Chance 'Pu6Lications 1997

38

93

u.h. W.I.h.W.u.h. u.h.W.I.h.W. u.h. u.h.W.I.h.W. u.h.

(= 72,= 84)
98 99 100 101
Picchettato. :
Staccato.

102 _ 103

110 112 11_3_-114 115 .116 . 117 . 1 18_

Variations in quavers. Uarianfes en croches.

(= 92)
With one third of bow-length. 136 137 138

Alec un tiers de l'archet.

M*
139
140 141 142 143 144

M’ M* M*
145 146 149 150

M*
M* M* M’ M* M*
(I = 66,= 88, J = 112)
152
Legato.

159 160 161 162 163 1 64 165 166

167

Chain:e PubLii:ations 1997

 39

176 177 178

+J —132)/3B
179
Different legati.

DiJérentes liaisons. M* M• M* M’
183 184 186 187 189

M* !/ 3 B. M* M* M* M* M*

191 192 193 194

190

M* M* M’ [Link]. W.

= 120)
196 197 198 199 '3 B 200
195 !/ 3 B.

M’ M* M* M* M*

201 202 203 204 205 206

M* M* M* M* M*

207> — _208_ _ 209 210

M* M’ M* M’ M* M*
// J B. 218 _ _

M* M* M* M*

219 220 221 222 223 224

M* M* M* M’ M* M*

( = 100)
226 227 228 229
225
Picchettato.

M* Wrist. M* M* M’ M*

(= 108)
13 B$ g 231 '*
230

M* M’
M* M* M* M*

Cir Pu6Licotions 1997

40
J = 100)
237 v
236

M* M* M* M* M* M*

M* M* H. H.

Variations in Triplets. 'L'erandemyjeri in'TriokTt. Variances en triolets.

( J = 126,
6 262
With little bow-hair.

Alec pen d'archet. M* M* M*

264 265 , 266 267

M* M* M* M* M*

269 » » 270 271 272 273

M* M* M* M* M* M*

274 275 276 277 V 278

M* M* M* M* M” M*

28t 282 283 284

280

M* M* M* M*
M*
286 287 288

M*
M* M* M*

290. 29 l 292
289

M* M* M* M*
 41
( J = 72, J = 92, = 126)
293 294 295 296 297 298
Legato.

299 300 301 302

308 309

( J = l44)p
’!
Different legati.

M*usewenig
little@ogen.
bow-hair.M*
pen d'archel. M*
( J = 126)
314

M* M*
M* M’ M*

319 320 322

M* M*
M* M*
324
323 326

M* M* M* M*

M* M*
M* M*

332

M* M* tr. [Link].

334

d - i26) 340 341 d = 92) 342

339
Picchettato.

M* M* M* M*
= 11 6)
346 (

M* M* M* M*
42

Variations in semi-quavers. Variantes en doubles crocJies.

(= 120) 348 350
With the wrist.
Mit ñm Nan fQefeJ.
Du poignet. M* M* M*

354

M* M* M* M*

356 (= 108,= 120) 357 >-

M* M* M’ M*

359 360 361 362>

M* M* M* M*

363 364 =- 365 366

M* M* M* M*

367 368 369 370

M* M* M* M*

371 372 373

( I = 120, J = 144) C
V
374M V _ 375 _ 376 V 377
Dotted quavers.

Croches pointées.

380 38 1 382
379

386 V 387
384

- 389 - 390 39 1

Ir. If.M*

M* M* M* M* M*

Chance 'Publications 1997

 43
( = 76, = 92, = 108, = 126)
398 399 400 401 402
Le
gato.

403 404 405 406 407

408 409 410 411

412

414 416 417

419 420 421

422 423

424 425

(= 112)
426 427 428a 429. 430 p p p43l
Different legati.

Différentes liaisons.
M* M* M* M*

432 _433 434

M* M* M’ M* M* M* M*

444 p445 446 447 » 448 449»

•W :i in <i :i

M* M* M* M* M* M’ M* M* M*

451 >
450

M* M* M* M* M* M* M* M* M*
460 461

M* M* Ir. W. pt. w.

462

Chance Public:ations 1997

44

= 108) 467 468 469 470_ 471V 472

466
Staccato.
Piccheitato.
M* M* M* M* M“ M* M*
474
473

M* fr. W. pt. W. Ir. w.

,' ' , 478 , ' ,, ' , 479 ' , '', ' 480, , , , ''''
Sciolto balzato.’
fr.
Ir. Ir. Ir.
'482 484 , , , , 485 , ,486 ,, , ,, ,

M. M. M. M. M.
Ir. fr. Ir. Ir. fr.
487 , , ' , , 488 , , , , ,489 , ,490 , , , , , 491 , , 492

, , i
M. M.

494
493, ' , ' , * ,

M. M. M.

500 503

Ir.’
508_

UI. M. M. ivl. M.
M.
Ir. Ir. tr. Ir. tr. v fr.

= 108,= 120) 520

519

524
52 l , 522 , , 523

527 528

529
 45

534

( I = 144) , , , , , , , , 538 , , , , , , , , 539 , , , , , , , ,

Sautillé.
Saltellato.
M. M.

541 , ,, ,, , , , , , , , 542, , , , , , , ,543, , , , , , ,

M. M.

545 , , , , , , , 546 , , , , 547 , , , , , , , , , , , ,

544 , , ' ' , , ' ' , , ' ' , , '

M. M. M.

, 549 , , , 550 , , , , , , , , 551 , , , ,

148 , , , ' , , , ' , , , ' , , ,
,

M. M.

553 , ,, , ,, , , , , , 554 555

,557, , , , , , 558 , , , 559 , , , , 560

3 y

(= 120)
’61 ’ ’
Thrown staccato. ’
)eworfenes Staccato. Staccato jeté.
y
M.
108) ( J = 92)
65' * ,,' , 566 568

M. 3

(1 138) Preparatory exercise.

570
569 ’ ’ ’ ’ ’ ’ ’
Hopping staccato. .
3prinfend‹:s Staccato.
Staccato saiit illant.
M.

M. M. M.
46

No. 26
Exercises for skipping over einer Exercices pour passer
one or two strings. LtfIP 0Lt deux cordes.
Example with 190 variations. Exemple avec 190 rarianfes.

Variations. Yarianteri.

( = 60}
Whole bow-length. Miigoitze/n 'Bodin

15 16 17
Half bow-length.
Mik haLbem ’Bogeii
Moitié de l'archet.

30( = 60) 32
Whole and half bow-lengths.
Mites zem itnffutffiem 'Bowen.
Tool l'archet ct moitié de l'archet.

34 36 37

40

Clam:e PubLica tions 1997

 47

57 J = 66) 59 60 61 62 63 64,
Staccato.
Picchetta ir

65 , 66 67 68 69 , 70 ,71 72 73 74

= 72)
(
75”’ 76 77 78
One third of bow-length.
t c mm firittef fts log,
.5 sec un tiers de l'archet. M*
M* M*

79 80 81 82 83 84

86 87 89 v 90

M* M* M* M*

92 93

94 ( = 80) 95 96 97 98
Staccato.
Picchettato

99 100 101 102 103 104 v

M* M“ M* M* M* M*
( = 80, = 96)
105 106 107 108
L se little bow-
hair.

.Exec peu d'arciiet. M* M* M* M*

109. 110

M* M* M*
114

Cir 'Pu6Lica tions 1997

48

(= 100)
16 117
With the wrist.
bit tern Nonf$efeJ.
Dir poignet.
M* M’ M*

119
120 121 122

M* M* M* M*

123 124 125 126 v

M* M* M* M*

127 128 129 130

M*

132

133 ( J = 88)
134 v n
Staccato.
Picchettato.

M* M* M*
i d - 100)
136 137

( J - 108)
139 140
14 l

M’

142 143 g

144
M*

(= 120,= 138,= 176)

45 147 148
S piccato.
Sciolto
balzato.

149 150 15 l 152 153 154

Chance Pubtu:ations 1997

 49

156 157 159

1 60
161 162 163 164

M.

= 108)
166 167( 168

69 170 171 172

73 175 176

178 179 180

182 184

( J = 132)
Sautillé.

187

189 190

CMnce Pu6Lications 1997

50

Exercises for developing We6u cuJfir tic ’£nt c/eIurtf Exercices pour Ie dével-
the power of the wrist. her Jra/t ñM DII 0ter/es. oppement de fOrCC du poi$net.

No.32
Arpeggios on three strings.
Example with 733 Variations. Arpéyes sur trois c0rdes.
Exempts Dvec 733 variantes.

HI IV

Variations.
Moderato ( » = 80)
Whole
bowlength.
Mitgarizefft O@€ft
Tout I'srchet.

10

!4 17

19 2l

Char Pu6Lications 1997

 51
‹ J = 80)
24 25 H. 26 27 28 29 H.
Half bow.
Uii haL6em Roger.
.Woitié de l'archet.

($ = 80)
46 47
Half and whole bow-lengths.
'.bit mayhem unñgo/tzem '8sge/t. ‘
Koilié de l'archet ct foiit l'archet. y 1. h.
,f 1. h. u.h. W.u.h. W.

48 49
i
50 51

I.h.

W. u.h. If.
u.h.

56 57 59

(/ = 80)

‹:ter Mi

64

(/ = 80)
79 84 85

86 89

I.h. “ u.h.
w. w. — u.h. W.
*) First witn the lower, then with the upper half. *) Vorfier unit Set uniteren, matter mit der obereti NsJte has 'Cohens. *) D'ahnrd 0t rc la inotie in/érieiirr, et pms avec la superiere.
**) 2nd and 3rd quakers of the bow.
* ) 2tes und3tes 'L'iertetdes 'Bogens.
ct 3me qiori de l'archet.

Clios
’'uâfications
1997
 90 9l 92 93

96

100 101 102 103 104 105 106 107

‹J - 80)
108 109 110
Staccato. Picchettato.

120 121,

( J = 96)
124 125a 126 , 127

129 130 131 132 133 134 135, 136

139 140 141 142 143 a, 144 145

Variations in quavers. Variantes en croches.

= 100,= 120)
146 ( 147 148 149 m
One third of bow-length.
bit einein 'Dnttef fcs 'Bogens
Alec itn tiers d l'archet.

150 152 154

156 157 159 160 161

Cir Pu6Lications 1997

 53

162 164 165 166

Le gato.

167 168 169 170 171 172 173 174a 175

176 177 178 179 180 182

184 186 187 189 190 19 l

192 193 194 195 196 197 198 199

200 201 202 203 204 205 206 207

( = 112, = 126)
208 209 210 211 212_

214

219 220 221 222 223 224

225 226 227> 228 229

martellato
= 108) = 108) Wrist. 232( = 120) = 126)
230 ' 23 i( 233 234(
Bowing styles.
}mA/te/t.
Coups d'archet.
M* ll 3 B.

= 138) J = 144) 239 t23l - 238)

236( 237 ( 238 240. (231 - 238)

M’
54

241 v 24c ma rtelé 243 1/3 B. 244 245 246

248 , , 249 _ , , 250 , > 251 ( 242 - 250 )252 ( 242 - 250 )

255 > 256 257 258

M* M* M* M*

259 spiccato 260 261 262( 254 - 261 )263( 254 - 261 ) 264 ( 254 - 261 )

265 266 267 268 269 270

ma
M* M* M* M* M* M*

(266 - 274 ) (266 - 274 )

27 l 272 273 274 275 276

M*

( J = 108) ( d = 120) (= 126)

J = 108) 279”
277 78 280 28 I
Double-stoppings.
In Ooppelfriffeii.
En doubl05 cordes.
M- martel-e
M* M* M*

282 283 284 285 286 287

( 278 - 284 ) ( 278 - 284 ) ( 278 - 284 )

I/3 B
288 289 290 29U 292 293

M* M’ M* M*

294 295 296 297 298 299

( 289 - 296 ) ( 289 - 296 ) ( 289 - 296 )

Ctia 'Pu6Lications 1997

 55

Variations in triplets. 'L'eraWeru en in Variantes en friolefs.

Wriokii.
( J = 120, = 144, = 176)
300 301 302 303
\ Cth little bow-hair.
.Jf›t men's’Bowen.
-’. ec pen d'archet. g M* M* M*
M

305 306 307

M*
M*

309 310 312 313 314

M* M* M* M* M*

316 317 319 320

M’ M* M* M*

322 323 324 325

M“ M* M*

327 329 330

M* M’ M* M* M’

332 334 336

M* M* M*
M*

( J = 96)
337,338 , 341 342 343 . 344

346, 347 348 349 350 351

356 , 357

360 361 362 363 364

Chance Publications 1997'

56

365 366 367 368 369

373 374 375 376 377 378

379 380 382 384

(= 1 16)
386 387 389 390
Bowing-styles.

M* M*

391 392 393 394 I= 108)395 396 397

M* M*

398 V 399 400 401 402

( 386 - 399 ) ( 386 - 399 ) ( 386 - 399 )

403 404 405 406 407 408

M* M* M* M*

409 410 412 414 415 V

M*

419 420
416

( 404 - 417 ) ( 404 - 417 ) ( 404 - 417 )

421 422 423 424 425 426

M* M*
M*

429 430 431 432 433

427 428

spiccato

CTiatu::e ’J?uâLi‹:ations 1997

 57
(= 138)
434 435 436 437 439 440

M*
444
441 442 443 445

M* (533 - 548) (533 - 548) (533 - 548)

= 100)
446' 447 448 449

M*

451 452 453

454 455 456 457

(558 - 565) (558 - 565) (558 - 565)

( J = 112)
458 459 46&, 461 462
Double-stopping.

M*

a63 464 465 466 467 468 469

M* M* M* spiccâto

470 471 472 473 474

( 464 - 471 ) ( 464 - 471 ) ( 464 - 471 )

Variations in semiquavers. Weraiidemnyeii iii 3eclisehntekii. Variantes en doubles coaches.

= 96,= 116)
475( 476 477 478
\Vith the wrist.
.bit ‹ten '//anitgefe .
Dt‹ poigxet. M* M*
mf M* M*

479 480 481 482 483

485 486 487 488

Chance Pubkii:ations 1997

58

489
490 491 492

493
494 495 496

497 498 499 500

501 502 503 504

M*

505 506 507 508 509

510 512

( J = 104)
516
514 517
Legato.

519 520 521

522J 524
525

528>- 529
526 527

530 532

(= 92)
34 536 537

Char Pu6Lications 1997

 59

539 540 541

542 543 544 545

547 548
546 549

(= 100
552

554

557

559 560 561

562 563 564

565 566 567

568 569 570

572 573

575 576
574

Cfiar ’T'uâLi‹:ations 1997

60
( I . = 52, J . = 69) v( J . = 66) ( J . = 60)
577 578 579 580 581
Bowing-styles.
5rric/iarten.
Coups d'archet.
ft.I' spiccato
M*

582 583 586

( 578 - 583 ) ( 578 - 583 )

J. — S2, J. = 69) . = 66 ‹J. = 60)

'i87— 589 590 591 592

M* y spiccato

596
593 594 595 597

( 588 - 594 ) ( 588 - 594 ) ( 588 - 594 )

( J . = 52, . = 69)
( . = 66)
598 599 600 601 602 603

M* M* M’

( . = 60) 604
605 606 607 608

¿ spiccato
( 599 - 605 ) ( 599 - 605 ) ( 599 - 605 )

( . = 52, . = 69) J. = 69 . = 60
609 610 611 612 613 614

M’ spiccato
M’ M*

615 616 617 618 619

610 - 616 ) ( 610 - 616 ) ( 610 - 616 )

( J . = 52, I . = 66)
( . = 66)
620 621 622 623 624 625

M* M’ M* M*

( J . = 60)
626 627 628 629 630

spiccato• • ( 621 - 627 ) ( 621 - 627 ) ( 621 - 627 )

Chance 'P«bficefiow 1997

 61

(J = 116) 632 633 634

631 *)

M (232- 235) (232- 235) (232- 235) (232- 235)

635 636 637 638

( 243 - 246 )
( 243 - 246 ( 243 - 246 ( 243 - 246 )
) )
639 640 641 642

( 254 - 258 )
( 254 - 258 )
( 254 - 258 ) ( 254 - 258 )

645
d43 ». 644 646

( 267 - 271 ) ( 267 - 271 ) ( 267 - 271 ) ( 267 - 271 )

- I *) Use less bow-hair than in styles 232 - 235. 631 *) Asec moirts d'archeI, qu’il n'est indiqiie aiix coups d'archet 232 - 235.
631 *) Mit weniger Bogert, afs bet S tricharten 232 - 235 atigege#eri ist.

Variations with hopping bow. T'añanten mit sprinyendem 'Bogen. Variantes en coups d'archet rebondissants.

647 ( = 152) 648 649

Sautillé.

650 651 652

653 654 655 >

656 657 658

659 660 661

662 663 664

CTiancz ‘J?uâLicatioris 1997

62

665 666 66W.

668 >. 669 670

671 672 673

( J* = 66)
674 675 3 676

= 96) 678 679

677'

680. 681 682

683 684

686 ‘i 687 688

689 690 691

692 693 694

Char Publications 1997

 63
( J = 132)
695 696 697 698
Flying Staccato.
fTie en‹tes Staccato
Staccato nolant.

(= 126)
699 700 701 702 703

704 705 706 707 , 708

' 120 jerked 7 i 0

Jerked or thrown staccato. 709 711 712
feworfenes Staccato.
Staccato jeté.

( J = 92)
713 714 716 717

718 719 = 76) 720

Hopping staccato. 721 (I= 144) 722

723 724 725

726 727

728 729 , 730

732 733

Chats:e 'Publications 1997'

64
No.33
Arpeggio on four strings. Arpe ten au/ vier 5aitcn. Arpéges sur quatres cordes.
Example with 511 variations. fie’upieLmit 511 'L'arianten. Exemples avec 511 variantes.

Variations in quavers. Variantes en croches.

( = 104 )
1 “
One-third of bow length.
i e neon firfttef‹fcs flexes
Alec Btu tiers de l'archet.
M*
mf M*

M* M*
M*
M* M*

16 17 19

( = 80. = 96. = 112.)

Le gato.

27 .28 29 p 30 33

34

41 m 42 43 45 46 47
44

*) Practice the variations marked M* *) Affe mit M* éeziec/i/tetc/i 3trichiibuiyen in *) On travaillera les coups d'archet
at the middle, tip, and frog. in der Mitte, an der 5 pile mid am 'frost:h marquis de M* dii milieu,
iiben. de la pointe et dii talon.
 65
‹ J 116)
48 49 > 50 52
Bowing-styles.

Coups d'archet.
M* l/3 B. M* M* M* M*
54 ->- 57 >•

M* M* M* M*
(/=120) (= 132 )
59606162 >.

f. spiccato
M* M*
M*
70
66 67 69

( 49 - 69 )

v ( I = 116 )
72 73 74 75 76

M* M* M*
( J = 126 ) (= 132 )
78 79 80 82

M’ M* M’
84 86 87

( 72 - 87 )
M.
v( = 116 )
89 90 91 92 ->.

M* M’ M* M* M* M*
( J = 132 )
95 96 97 98 100

M* M* M*

101 102 103 104 y , ,105 10

Ir."• M. ( 90 - 105 )
108
(= 116 )
107 109 110 j 3 @ _ 112

M* M* M* M*
113 114 116 117 t/s B

M* M* M* M*
Char PubLi‹:ations 1997
66

119 120 121 122 123 124

(= !20
125 126 127 128 129 130

M* 132 M* M* 134
136

137 139 140 *’* é 141 142( 108 - 140 )

( I = 126 )
144 145 ». 146 147
43
Double-stopping.
lii Ooppelfriffen
En doubles cordes.
M* M* M* M* M*
= 152 150 152 ( 144 - 151)
149' ( 144 -
148 i

(— 126 ) ( J = 152 )
154 156 157 159

"$ spiccato
M* M* M* M* M*
161 162 ( 155 - 163 ) 165 ( 155 - 163 )
160

Variations in Triplets. Yerâiideniyfen iii 'Triokeii. Variantes en triolets.

= 144, = 176)
Use little bow-hair. 166, ( “ 1 67
Mit wen'if 'Bogey.
Alec peat d'archet. gJ g
M M*
(I = 112,= 132,= 160)
168169 m 170 m 17 I

M* M* M* M*
172 173 174 175

M* M*

176177175, 179180

Chance 'Pu6Lications 1997'

 67
( = 88, = 108, = 152)

Legato.

187 189 190 191

193
194 _ 195 196 197 198

199 200 201 202 203 204

205 208 p 209 210

211 214 216

217 218 219 220 221

22 223 224 225 226

(= 126,= 160)
( J = 112, J = 144) V ( J = 138,= 160)
227 228 229
Bowing-styles.

Coups d'archet
=f M*
d112 138
23&. 231 232 233

(1 = 1
234 235 237”
236

It
(I — 112, = 138, = 88) (= 138,= 88 (J = 132)
238 239 240 241

M* M’
Chance 'Pu6Lica tions 1997
68
( = t t2, J = !32)
242 243 244 245 246

M*
= 120)
248 249' 250 251

M* M*
(= l 12, J = 132)
252 253 254 255 256

M* M* M* M* M*
257 258 259 (= 120) , 260
261

M* M*

( J = 112, J = 132
263 26@
262 . 264

M* M* M* M*
269 i d = 120) 270
267 268 271

M*i/ B.
(I = 100,= 138,= 84)
272273 . 274 , 275 . 276», 277 .

M* M* M* M*
278», 279*. 280 282». 283 ,

M* M* M* M* M* M*

285 286 287 288 289 290

M* M* M* M“ "3
(= 132, J = 152)
291292293294 29°›=-. 96 > 297

M’ M* M* ‘M*
( d = 108, = 120)
298 299 300 301 302 303 304

S 'lCC0tO
M

305 307 308 309 310

( 273 - 307 )

Cfia ''u6Li‹atiom 1997

 69
( = 100, = 11 6) V( = 120) ( — 116)
3l2>. 314 =- 315 >-
Double-stoppings.
lii Ooppelfriffen
Ex doubles cordes.
M* M*
(= 100,— 120,= 152) (= 100, = 126) (— 96,= 144)
316 319 320 321

M* M* M* M* M* ”’ ’’
(= 100,= !20) ( 317 - 322 ) ( 317 - 322 )
323 324 325 326
322

spiccato

(= 100,= 120) 333 ( 328 - 332 )

328 329 330 332
327

M* M*
( 335 - 340
336 339 340 341
334

M* M* M*

Variations in semi-quavers. T'erandemngeii in 5e ehntekn. Variantes en doubles Crochet.

From the wrist. 342 ' J = 120) 343 344
,
'Mit Mem Hacdgekn .
Dir poignet.
M*
M* M*
345 346 347 348

M* M’
M* M*

349 350 352

M*

( J = 100, = 144)
354V 356 v n 357
Dotted-quavers.

Croches pointées. y

(= 120,= 96)
360 362 *
359 361

M* M*
70

— 96
363 364 365 366 367

(= 92)
370 z 37 I 372
368 369

374 (= 80, J = 100,= 120)

373 375 376 377 378

379 380

— 92)
386

(1 = 104)
389 390 391 392

393 394 395 396

397 398 399 400

(= 88,= 112
401 402 403 404

405 406 407 408.

409 410 41 l 412

Cir Publications 1997

 (= 100

I= 80,= 104, J = 126

417 418

420 421 422

J . = 56, . = 69)
Bowing-styles. 423 424 425
Coups d'archet.

M*
( J . = 60) 429 424 - 428 )
426427428

( J . = 56, . = 66)
430 431 432 433

M* M* M*
434435436437( 43 I - 436 )

v (/ = 104,= t32) = 104)

438 439 440 441 m'

M* M*
443 444 445 ( 431 - 436 )

446 v = 104,= 120

447 448 449

M* M*
451’ = 100) 452 ( 447 - 452 )
450

( 49 - 63 ) ( 72 - 80 )
( 49 - 63 ) 455 45

M*
*) Use less bow-hair than for bowing-styles 49 -')63.
bit Seri”per Bogen,ok Rei 3tricfiorten *) Avec moins d'archet, qu’il n'es I indiqite ai i
49 65 a egef›er/ it
72
( 72 - 80 ) ( 90 - 98 )
457

( 90 - 98 )
( 108 - 131 ) ( 108 - 131 )
459 460 461

= 152)
462 463
Sautillé.

465 466
464

468 469
467

( I = 96) ( I = 144) 471

470 ' 472=-.

474 475
473

477 , 478
476

480 481
479

Clam::e 'PubLi‹:ations 1997'

 482

485 456 457

( I . — 69) 489

( I = 96) >
491 492 493

M. M.

494 495 496 497 •

( I = 168, I = 152)
498 168) 499
Hopping staccato. 3prinfendes Staccato Staccato sautillant.

(I= 168) 501 v ( I = 168, I = 152)

500 502 (= 108)

( I = 108, I = 92) 108) ( I = 108, I = 92)

v' 505
503 504

( I = 144) ( I = 152)
,U 507 ,508
506

( I = 152) ( I = 152, I = 138)

510
509

CMtice 'Pu6Lications 1997