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Sheet Cc Music" MAIA BANG VIOLIN METHOD Provided with original exercises and suggestions by LEOPOLD AUER English and Spanish Text Part jememtary Rudimnts (042) © Part It More Advanced Studies (043) Part IIT ird and Second Positions (044) Part IV Fourth and Fifth Positions (045) Part V. fh and Seventh Positions (046) Part VI . Higher Art of Bowing (047) Part VI iano Accompaniments (01410) Maia Bang M: Vi ilin Method, Part I Bang Violin Method Part Ll — More Advanced Studies Flat Scales... . Scale of F Major Exercises for Developing the In of the Fingers, Mute Notes with one Fiager’ Mate Notes with two fingers Three Studies for Developing Freedom and Flexibility of the Wrist. Metre. fit Short Preparatory Exercises for illustrating Metre in its simplest form : Duet-Btude. Syncopated Notes Regular Syneopation Interrupted Syneopation Seale of D Minor Preparatory Exerciges for Bareiolage and Arpegeio Bowing - Fi Etude. = a6 Scale of ity Major Exercises for developing skill in’ bowing’ fand left hand dexterity ‘Triplets Etude. Slurred “Triplets Seale of G Minor. | | Three Miniature Etudes for the Bow Scale of E> Major ‘Advanced Interval Progressions ‘The Diminished Fifth Tho Augmented Second Staccato- Etude Scale of C Minor: Finger Exercises in Connection with Le- gato bowing... Etude. « ‘The Rocking Bow ( Barrio! age) Etudes. . . Aspeggio Bowing | Scale of Ab Major. Chromatic Intervais ‘The Chromatic Seale Chromatic Study. . Chromatic Passages and Broken Chords | Bowing and Left Hand Exercises... | Enharmonic Changes . Scale of F Minor Tonal Shading . | | Increase and decrease of Tone Grescenda und Decrvscendo Etude (Saccade Bowing) Recapitulation of all major and minor scales Taken up thus far r Broken Chords in all Keys taken up thus far Seale of B. Major. ‘The Half Position |. | Scale of Gf Minor. Seale of DP Major Scale of Bb Minor) | Embellishments or Grace Notes Technical Supplement (By Professor Leopold Auer)... A Short History of the Violin Its Famous Makers and Play Famous Players of the Past and CDi Ma cae ‘a ho 2% ol 2 cH a [2 Ta 1s 3 56 io37 19 68 Escalas Con Bemoles. . Escala de Fa Mayor. Ejercicios Para Desarollar la Independencia de lox Dedos tus Mudas eon un Dedo Notas Mudus con dos Ded ‘Tres Estudios para Desarrollar la Libertad y Flenibilidad de la Muteca. Pequetios Tjercicios Preparatorios ‘para ius ‘rar el Metro en su forma mas sencilla. Ducto= Fetudio oe Notas Sincopadar. | 1. | Sincopaoién Regular copacién Taterrumpida Escala de Re Menot ngs a fercicios Preparatorios para Arqueos de” Cadenciay Arpegio. ae Estudio.» Escala de'Sib Mayor Blereicios para desarroilar habilided ene ‘rqueo y destcera de la mano iaquierda Tresllioes a Estudio. Tresillos Ligados Escalade Sol Menor | Tres Estudios Mintataras para el Arco! Bacala de Mis Mayor - ° Progresién Adelaatada de Tatervaiog | Lu Quiata Disminuida Ti Segunda Aumentaa Staccato-Batudio an Escala de Do Menor Bericiow para lon Dedon a coexidn con’ el arqueo ligado : Estudio. “ i EI Arques Osciiatorio (Barrioiage) | Estudion = EL Arqueo Arpegiado Escala de Lab Mayor Intervalos Gromaticos La Escala Cromitico Estado Gromilice | asajes Cromaticos y Acordes Quebrados. oeeicon de “Anguco y para imanoigutnda Cambios Enarmoicos Encala de Fa Menor. Matices de Tone. Estudio (EI arqueo saccade)... 22 Resumen de lodas la escales mayores y men- ‘ores hasta ahora engontraday . - s Acordes Quebrados en Jodas las Haves hasta’ ‘ahora consideradus aro Rscala de Si Mayor = 1221 Iss La Media Posicion. 22222) 21212 56 Escala de Solf Menor | 222222212 37 Escala de Reb Mayor aoe Escala de Sib Menor. 2221! % Notas de Adorno. : 3° Suplemonte, Técnico (Por el Profesor Leopoldo Auer). 6 Breve Histéria del Violin y de sus Fabrican- ‘tes y Virtuosos Afamados . Famosos Violinistas del pasado y del prescnie 2 Meio Bang Violin Method by MAIA BANG Part Two FLAT SCALES The flat (b) placed before a note lowers it one- half tone, fi. Viovin Method, Par I Método De Violin por MAIA BANG Segunda Parte ESCALAS CON BEMOLES EI bemol (b) puesto delante de una nota ta Juje: medio-tono, ‘por ejemplo: a B B flat E E flat A A flat D “Diat Flats will be ased in all of the following scales, the construction of the latter being iden- tical with that of the seales with sharps. ‘The descending order of the Major Scales with flats, occurring as they do, a perfect Sifth apart, is shown in the following Little diagram: Se emplearin bemoles en todas tas escalas que aigwens y dichas exealas se constrayendel mismo modo que [as escalus con sostenides, BL irden descendente de tas escalas meyores es por intervalos de wna quin- se puede ver en ef pequeiio dit rama que sigue: con bemotes, ta perfecta, F Major D Minor Fa mayor ab Re menor Bb Major © Minor ‘sib mayor 2b lst menor Bb Major © Minor Mib ab | on tb wager 0 menor Ab Major F Minor Zab mayor | *% | Fe menor CDixz- 3 Maia Bang — Violin Method, Part I SCALE OF F MAJOR ESCALA DE PA MAYOR Half-steps: A-Bb and E-F Semitonos: La-Stb y Mi-Fa a) be ©) Dibetpulo 120 Teacher Musiro Also to be practised: (Se debe practicar tambith on a BROKEN CHORDS ACORDES: QUEBRADOS NS 44) Place the finger on both strings at once. 4) Se dade poner of dedo en ambar eusrdas ita mts aa ee Maia Bang — Violin Method, Part I EXERCISES FOR DEVELOPING EJERCICIOS PARA DESAROLLAR the Independence of the Fingers Ia Independencia de los Dedos The flowing exercises must be practised very stow. | | Zas greiios gue siguen se deben practicar muy ty. The right placing ofthe mute notes demants par. | despa, | La posicion de it dedes (ue pian lat ticular attention, and the pupil must make sureof the | notas mudas debe ser correcta y demanda wna aten- atolutly corret position ofthe fingers mopping tcse | cidn particule ef dseipulo debe asegurarse de soles, a” postin absotutamente corrects de for Wedos | gue pésam dichas notas, MUTE NOTES WITH ONE FINGER NOTAS MUDAS COW UN DEDO “The srt finger remains firmly set upon its respect - | BY primer dedo se mantiene apoyado firmemensesbre ive note, whichis aot sounded, while playing with | Za nole respectivn, que no suena, misniras se toca {he second and thied fingers cow segundo 9 tre Gide, by ldo dal a) on 122 = = ———— ‘The second finger av above, While playing with | AU segundo dedo se apoya, mientras te toca oom the third and fourth fagers, ot a 9 are dah Midd Jad ad @nr ly 2 a =X ‘The third Hingor as above, while playing with | BU fercer dedo se apoys, miontvas 60 toed com the fist and second Cngers. a primary tagundo dodo, bn dd 8) Da did eet Th out ges am Dave, wil playing with |_| #Y ewan dado we apnye, _minras 4 foe ou the open string and first foger las cuerdas al aire yon eh printer ded, Don wo pert se oi to wore MUTE NOTES WITH TWO FINGERS The first and second fingers remain firmly set up- | #2 primer y segundo dedo se quedan firmemente on their respective notes, which are not sounded, while | apoyadas en sus notas respectivas, gue no suenan mientras Playing with the third 2nd fourth fingers | £6 toca com ef torcer y cuarto dedo. midds ddid dd NOTAS MUDAS CON DOS DEDOS _ The second and third fingers as above, while Kl segundo y ol torcer dedo se apoyan, mientras playing with the open string and first finger. se toca en las cuerdas al aire y con el primer dado, on @ 5 = rT ee arpere seen ee ae ane teealaeee | a dt tee Perlner sep OS te oe ao rrr? rrr? tF epi 5 Mai Bang — Violin Method, Part IL THE POOR LITTLE PONY EL POBRE CABALLITO Edy. Grieg Allegretto drregttds: pe) MB. Papi 128 ft Teacher Maestro aa bow. At first your efforts must be directed presién del arco. Primeramente se debe touards producing a soft und pure tone; its empeiar el estudiante en producir un tono strength and volume will develop in time. ‘suave y puro; la fuerza y plenitud se desa- L.A. rrollarin con el tiempo, ZA, CDixz- 6 ‘Never force the tone by presting with the | | | Nunca se fuerce el tono mediante Maia Bang THREE STUDIES for Developing Freedom and Flexibility of the Wrist I Supple wrist; alo to be practised with use of fore-arm, more, when slowly, less, when quick: ly played! Violin Method, Part It TRES ESTUDIOS para Desarrollar la Libertad y Flexibilided de la Muiieea Mutioca flexible: también se debe practicur empleando ef antebraro, uséindolo mas euinds se toque despucio, menos cuando se liue ein celert= dad. - VAbbrovinted notation otastin' abrwviada a. | Muiece fiexibte! Maia Bang m. Supple Wrist! Violin Method, Part I Im. Muieca fhexible! At the Point of the Bow 126 nla punta deb arco NOTE:- Correct manipulation of the Bow is one of the most important factors in violin, playing and much more difficult to at- tain than technical dexterity of the left hand. It is om this account that the var- ious Bowing Exercises such as those on Pages 112, 113, 118, 121, 122, 127, 130, 131, 122, 138, 185, 136, 144 and.151 should be practised with particular care and con - centrated attention. METRE ‘The general definition to be offered for this term is the symmetrical grouping of musical rhy- thms. Metre in music is the systematic manner in which the notes falling on certain beats of the measure are accented. Just as certain words are emphasized to a greater or lesser degree in poctry, the notes in music are played according to certain demands for establishing rhythm, and this is accomplished by playing accented (strong, decided) and unaccented (weak) notes on certain beats of the measure and inthis way creating systematic rhythmic pulse and contrast. CDitz- NOPA:~ BE manejo corrects del arco es un fuctor de los mas importantes para tocar ek violin, y mucho mis difierl de adguirir que Ta destreza téoniea de la mano ix - quierda. Por eso se deben practicar con cuidado particular y atencién coxcertrada los diferentes ejercieios de arqueo, tales como los que se encuentran en las piginas 412, 113, 110, 121,182,127, 180, 181,182, 138, 4195, 186,168 y 152. EL MBTRO La definiciin general de extetirmino, que se puede ofrecer,es el siguiente: BL metro es !aagru- pacién simétrica de ritmos musicales. BE metro, en la missiea, consiste en la manera statemition , por la cual se acextuan més 5 menos Las notas , cayendo en ciertos tiempos del comps, exacta - mente como etertas palabras en ia poesia. Las nutas se tocan de acuerdo con cter‘as reglas para establecer ol ritmo,y esto se ubtiene tocando en eiertos tiempos del ccmpés notas acentuadas (uer- tes)y notas sin acentos (cbiles) procurando.des- ta manera un ritmo sistematico y contraste, Mai Bang — Violin Method, Part I SHORT PREPARATORY EXERCISES PEQUENOS EJERCICIOS PREPARATORIOS for illustrating Metre in its simplest form | para ilustrar el Metro en su forma mas sencilla SIGNS FOR INDICATION OF ACCENT SIONOS PARA INDIGAR BE 40RWTO — strong, decided accent = acento fuarte, decitide v oweak, unaceented ¥ débil, sin acento gy THE HERO OF THE NAVY BL HEROE DE LA MARINA Norwegian Song Canto Noruega Maia Bang — Violin Method, Part It DUET - ETUDE DUETO - ESTUDIO Be careful to watch the Rests and always Cuidado en tn observacién de los silencios Count? ¥ Siempre Cuentese! Allegro Mortensen ua \ 4 y Pupil Diserpulo 129 Teacher Maestro *) Lift the bow from the string everytime this | *)Sedebelevantar ef arco de (as cuerdas cada ves que ost ocours and rvsot it enrefully. ‘seta pause ocurre eiteneto y reponereo con enidade CDixz- 0 Maia Bang SYNCOPATED NOTES When a note commences on a weak beat ard is tied to the following strong beat, with the accent displaced from the strong to the weak ‘one; it is aid to be syncopated . The following little exercises and pieces will illustrate syncopation in its simplest and most direct form REGULAR SYNCOPATION Viodin Method, Part It NOTAS SINCCPADAS Cuando una nota empiesa enun tiempo débil y esti ligada al tiempo fuerte que sigue, el acento, moviéndose det tiempo fuerte ab tiempo débil, prow duce una nota sincopada. ‘Los pequeios gjercictos y piesas gue siguen il ustran la sincopa.en su furma mis senetllay di recta. SINCOPACION REGULAR MEDITATION INTERRUPTED SYNCOPATION Pupil Diseipnta 134 Teacher Maostrs I FOF OF The very life and pulse of music are depen dent upon shythmic precision. Therefore, give it your unfailing attention at all times. MEDITACION SINCOPACION INTERRUMPIDA rer Bl atma y la pulsacién de ta miisica depen den de la precision ritmica. Por esto, siempre se debe concentrar una gran atencién a el. TH my « pus de Ta smusignd sans rye. (Phere ean be no music without rhythn) L. & {No hay musica sin ritmo, CDixz Maia Bang DIXIE'S LAND Southern Melody Allegro 5 Pupil = Discipulo 182 uf lively and gay fa Teacher Maestro Violin Method, Part LA TIERRA DE DIXIE Melodia de ios Bstados det Sur (BUA) Arreglade: p3¢\M.B, 7) = decent sign, means that the note should be em- phasized in two ways: through decided preesare of the Yeft hand fingers upon the strings and slightly in - ‘creased preseure of the bow. (See Part V, page 426.) #4) Place the finger on both strings: at once, ‘see) See page 117 about triplets. CDixz- 3) = Signo de aconto, quiere decir que so dete acontu- ‘ar la nota de dos manoras: zor preaién determinada de {os dedos de la mano tegutenta sobre las euerdas, y Con ins presion algo aumentada delarco,Fease la parte Fpag 430) #9) Se debe poner of dado on ambas euerdas di ta misma sts) Mase pag. £7 respocto alos tresltos. Maia Bang — Violin Method, Part Il SCALE OF D MINOR ESCALA DE RE MEWOR Half-steps: E-F and C4-D when ascending Semitonos: Mi-Fu y Dot-Re ascondente ‘BA and F- E when descending Stele y Fa~ Mi descondente Pupil Diseiputo 138 ‘Teacher Maestro Also to be practised: Se’ debe practicar tambiin: © on ca © Down Bow slowly, Up Bow quickly, Bujada del ayec, Eespacio;” Subida del arco, prontarnente BROKEN CHORDS | ACORDES QUEBRADOS - 4, aS n 134 Zz t= Se eet etree Seater netgear cera acer oe CDitz- Maia Bang — Violin Method, Part IL FOLIES D’ ESPAGNE FOLIES D’BSPAGNE CORELLL ary ‘ Anroglats por Adagio =~ to or 4 ot Pupil Disetpnto 185 Teacher Maestro Stand. 6 rae ie “Asatnicse siempre de oe paves ln mang, ino solamente fom dedoes y tambien pong mucha ston- ! abi pouda mucha ae Always remember not to move the hand, te fingers: also pay careful attention to the o Ls Cién al acqueo hacia arriba: VARIATION VARIACION for Staccato Bowing para el Arqueo Staccato ‘Allegro moderato 4 4 Doe jt... 0% Pupit Diseipulo Teacher 7 Maestro == #) This note OF) demands special stretching #) Fata nota, Do(Fldemanda una extensiin especial of the fourth finger, as ite position is une-bulf wep | det cuarto dedo, vito que eu posttin utd medi. tono higher than B(f) the highest note in the Firct Po- | més alto gue Sifft) ta nota mae alta on ta Primera sition, Zo not move the Aand away from its wsuat | Pustetin, No se muswa fa mano de su posieiin position, acostumbrata.. ‘+8 Place the finger on both strings at ance, 9) Pingase el dedo on ambas euerdas & ia vee. Dine i Maia Bang, PREPARATORY EXERCISES for Burriolage and Arpeggio Bowing Draw the Bow back and forth across two strings, quietly, with even division of the bow length, and particular attention to the Up-bow Preparatory 9) | Violin Method, Pat I EJERCICIOS PREPARATORIOS para Arqueos de Cadenoia y Arpepio Pase cl arco pactficamente hacia arriba y aba- goal travis de dos euerdas, dividicndo igualmente la longitud del arco, y con atenciin particular al arqueo hacia arriba. BEE GaSe ee Practise the following Etude slowly and at first with detached up-bow, ESTUDIO ) “FF in this particular case is stopped with the ard fingor (one-half step below G) In order to al - low the 2nd finger to remain on C. #9 natural In this particular case is stopped with the and finger (one-half step below F) in order to allow the 4st finger to remain on Bb. ‘See page 126 for The Diminishod Hifth, CDixz- I ee wPaR en vate caso partioularmente ee aostions con ef tercer dedo(medto-tono debafe de Sol) para parmitir gue et segundo dado 60 mantenga sobre tt Do 9) Ate natural, en este caso particularmente se sostiene con of segundo dedo (mediotono debajo de Pa) para per. Initér que ol primer dedo so mantenga sobre of Stb. Vease pag. 125 respecto d La Quinta dieminwida Maia Bang — Violin Method, Part I SONG OF THE MOUNTAIN MAID CANTO DE LA MONTANESA Waldemar Thrane ‘arm by Andante Arragiada” pos {M. B. Pupit Disciple 137 St Teacher Maestro SCALE OF Bb MAJOR ESCALA DE SIb MAYOR Half-steps: D-Eb and A-Bb Semitonos; 0 medios tonos: Re-Mib y La-Stb Preparati Preparaciin: ° an Le Dine 1 Maia Bang Pupil Diseiputo 4138 Teacher Maestro Violin Method, Pact Also to be practised : Se debe practicar también. BROKEN CHORDS 7 139 oo ACORDES QUEBRADOS aN Always practise in the right way, as poor and faulty methods of playing may be acquired through incessant endeavor and such thorough practise that it will be well-nigh smpossible to correct them «- Bain. Therefor: Rather dispense with practising al - together than to do so carelessly and im properly. L.A. Estidiese siempre de la manera cor recta, pues fos matos hébitos, que se ad- quieren con la prictica defectuosa, son despues casi imposibles de corsegic. Es preferible no practicar del todo, que hacerlo sin euidado e impropiamnen- te. LA. CDi Maia Bang — Violin Method, Part I It TIE STAR SPANGLED BANNER LA BANDERA AMERICAS A Meaestoso ne aa Disetpulo 4140 0 With dignified majestic Expression | #) Gon ecpreiin dentate y majestesa EXERCISES | EJERCICIOS for developing skill in bowing para desarrollar habilidad en el arqueo and left hand dexterity | y destreza de la mano igquierda 141 wd. tip wb mt ent yy mP tia. en la tia. en et WP on tg wh Die: Fratta cf Paton Ctl ta Biola Ve Also to be practised Se debe practicar tambien: poet ree ster eee Down bow slowly, up bow quickly ‘Down bow quickly. uy hes slowly Same “Tenathyci'the Bow 1 nat of = So SS Ss oe aa FS 7 rg lace eribel prin far cope 9 despaio hacia rviba Fa i er allel PP CDi 18 Maia Bang TRIPLETS A Triplet is a group of three notes equal to the time value of two notes of like denomina- tion, Their notation is shown below; as a rule the triplet is always marked with the numeral 3 above or below the group Triplets: Tresillos: Same value as: Del mismo valor que’ Pupil 1 gy AG PITT TST Violin Method, Part I TRESILLOS Un tresilto es un grupo ae tres notas teuales an valor de tiempo a dos nots tle lu misma Gonominaciiin, Se escribe como se puede ver amis wlajo; por lo reeulur se marcn Siempre con el nimero 9 por arriba & pur bio del grupo. Disekpulo 142 ‘Teacher Maestro 1» The 214 finger to be placed on both stzings for Fand Gat the sume time as) The ath finger to be placed on beth strings for Hb and Bb at the same time. 48) 2a Capo (repeat) al Fine (to the ond) means to re- Peat from the beginning and close with the mea - sure marked Fine. CDi. 19 Fine. +40) 9) Pingaso of das, al mismo tiempo, para atid y Stb ‘uarlo iedo om ambax ewer ) Da Caporrepti) al Fine (hasta ol fin) gurere de- cir que se ropita desde ol principio y se acabe en ateompis marcado Fine : Maia Bang, JUANITA Old Spanish Melody Allegretto Pupil 7 Disetputo 143 of Teacher (papa Maestro Violin Method, Part I FCANITA Antigua melodia esparota pr by Arregiada’ poe | Ms B. = _ = TF : Bow pressure rom the shoulder will not help to increase your tonal volume; produced in such a ony the tone will always be scratchy. Always remember that tone production 4s entirely dependent upon the wrist as well as upon the strong and decided pressure of the left hand fingers, and your efforts at the begin- ing should be directed towards the production ofa pure and singing tone, rather than tonal volume. Tonal quality constitutes one of the most important essentials of violin playing. La presion de arco, dada desde el hombro, ao ayudaré a aumentar el yolumen de sonido, pues producido de este modo siempre resultard tun tono aspero, Tengase siempre presente que la produccién del sonido depende enteramente de la muifecay también dela fuerte y decidida presién de los dedos de la mano izquierda,y los principiantes debie esforzarre en producir un tono puro y cantante,en lugar de un gran volumen de sonido. La calidad del tono constituye una de las partes mis importantes del arte de tocar el violin, LA CDi Maia Bang — Violin Method, Part SLURRED TRIPLETS TRESILLOS LIGADOS A Ln see Ss Remember! First the fing ‘Reuirdese! Primeramente los dedos, Bove LA. después el arco. LA. Also to be practised | Se dete practicar también: » exefl ec) = Saperraetencres SS ve 2, ee Sri quekly — —— ROMANCE | ROMANZA LA dre by wen Andante Arreglada por {MB v 2 2 Pupit Diseipulo A&B Teacher Maestro *) Place the finger on bath strings at once. )Pinguse of dedo en ambas euerdas al mismo tromyo. s+) Phino accompaniment Beginton first of meusure w)Aincompakamionte de piano omptera con la note primera dat cons. Dine a Maia Bang — Violin Method, Part SCALE OF G MINOR ESCALA DE SOL MENOR Half-steps: A-BS ard FRG when ascending Semitonos: La-Sts y Fut-Sol, ascendente ESD and BS-A when descending Mis-Re y Sib-La, descendente Dm Preparation Preplrncton: e ir (i Pupil Discipulo 146 Teacher Alnestro Also to be practised Sw debe practicar babies BROKEN CHORDS | ACORDES QUEBRADOS Pb —— SAT =e =a —S ed ¥ b=? tf ang oc 4 4 4 al eDit 2 Maia Bang — Violin Method, Part I RAVENS WEDDING IN CROWLAND | LAS BODAS DRL CUERVO Nurwegion Folk Song Cancion poplar Noruetin Andantino ‘ Pupil 7 Piseiputo \E ee 148 ae Teacher [EB = Maestro SSS = 6 gave a THREE MINIATURE ETUDES TRES ESTUDIOS MINIATURAS for the Bow para el Arco ETUDE I STUDIO I M.B, Py eae ecop finger down Wo +6 levante of dedo Maia Bang — Violin Method, Part I ESTUDIO If ETUDE II ith Whole bow m todo el arco f 10 GES e 7 ese ETUDE I | ESTUDIO WW Play the Dowa-Bow elowly Pogue te bijada det arco tuave The psp quickly Repita artuen hecte arriba oe #) Place the Linger on both strings at once. *) Pingase af dedo om ambas cuerdas & ia més- Dine 4 ~ “ MAYOR Half-steps: G-Ab and D-Eb Semitonos: Sol-Lub y Re~Mib Prparastoa: Téngase el violin perfectamente guisto y sim] preenta misma posieién correcta! No se mueve el violin, sino solamente eb arcof Hold the Violin perfectly quiet and always in the same correct position! Dont move the vio- lin, only the bow! Pupil Disciputo' 152 Teacher Maestro Also to be practised: ‘Se debe practicar también: aut © wb, enol tall he x —S mt punta. tip on fa punta BROKEN CHORDS ACORDES QUEBRADOS 158 CDi 2s Maia Bang — Vi LA MARSEILLAISE French National Hymn With martial and heroie expression Con expresion grucrrera y hi Pupil Diseipato 154 Tracher Maastro jolin Method, Part I LA MARSELLESA Minne Nuvivnul Francis Rouget de {Is! ter by | Arroglada por MB. Fiver practise with lao strong a line uid par ticularly nit at the nut of the bow. In practising forte the line #8 ape to become rough and espe- cially s0 when nearing the Sut, where th sure of the hand s naturally increased throug ats ruvsed positio L.A. "See Supple ment, page S26, No 8. (Divle Siplementaria) From ¥ to (> In one-half step and requires close set- Of the secoad wad third Fingers, CDi fuerte, y en particular no debe hacerse tampo co enel taidn del arco, Practicando suorte el tono ‘eat propense a volverse aspero, ‘especialmente cuando se elega cerca del talén,donde se aumenta por su naturalmente la presién de lamano debido & Su posicidn elevada. ed. 5) De Fa & Sith hay wn semitono, fo gus demanda que Sagundo y tercer dada ea pongan juntos 26 Maia Bang ADVANCED INTERVAL PROGRESSIONS The Diminished Fifth. In order to develop purity of intonation it is most advisable to practise dimintsAed fiths (also Known asFalse vis-a-viel(one half tone less than the perfect fifth) as frequently as possible One of Prof, Auer rules in this respect is,““the diminished fifth must never be played with the same finger” a bn, ‘The Augmented Second ‘The study of “Augmented Seconds” is equally important as an aid towards purity of intonation ‘This interval represents a distance of “one whole and one half step” between the respertive fingers, and demands an ‘unusually wide stretch. eee Viovin Method, Par I PROGRESION ADELANTADA Dit INTERVALOS La Quinta disminuida Para desarotlar puresa de entonacion os con- veniente practicar tas quintas disminuidas yar también se Waman falsos “vis a vis! semitono ‘menos que ta quinta perfecta)stempre que sea posible. Una regia del Profesor Auer referente a éste asunto 8 que "ta quinta disminuida nunca se debe tocar con ef mismo dodo” 2 By La Segunda aumentada BI estudio de las “Segundas aumentadas'es de gual importancta como para ayuita en conseguir pure de entonacion, Bste intercalo representa ta distancia de un tono y medio entro tos dedos resportives, y demanda una eatension més larga de la ordinarto. SSS Hh step ono medio Om Fono'y medio EXERCISE for Diminished Fifths and Angmented Seconds. A 455, EJERCICIO para quintas disminuides y segindas amentedas MB Maia Bang — Violin Method, Part I THE SWALLOW LA GOLONDRINA Mexican Felksong Cancién popular mejicana Introduction arree! are ty Ne Faber _ pret) Pupil Sb Diserputo 156 Texcher Maestro (The Swallow) ‘La Galondrina) tip slowly quickly despetio, rie —_ — Maia Bang Violin Method, Part I Whenaver playing or practising rememlrr that your brain must always be as active ax your fingers. LAL Al tocar 5 practicar, téngase preseate que el cerebro debe estar siempre tan activo camo los dedos. ba | STACCATO - ETUDE STACCATO -ESTUDIO Allegretto 157 M.B. the fingers first,then the box Maia Bang — Violin Method, Part I LITTLE NANCY'S WALI PALS DE ANITA Tempo di Valse a a Pupil = —— = ot Disetpulo = 458 Piilee ‘Teacher Maestro pa tempo @ horizontal direction. posicién horizontal. ‘dolce = wolily = euavemento CDi Hold the Violin well up and pointed in | | Téngase ef violin bien levantado y en 30 Mai Bang — Violin Method, Part I SCALE OF C MINOR ESCALA DE DO MENOR Half-steps: D-Bb and ERC when ascending Semitonos: Re-Ais y Si Do, ascendente Ab-G and Eb-D when descending Lids-Sol y Mis-Re descendente a : $e FSaaS betas Pupil Diseipulo 159 Teacher Maestro Also to be practised: Se debe practicur tambien: BROKEN CHORDS ACORDES QUEBRADOS Keep the fingers down Mantengase losdedos ptoando las cuerdas “att. 5. Tee tO 160 CDi 31 Maia Bang — Violin Method, Pat Il HE STAYS A-FAR VAGANDO LEJOS A Ballad of Finland Balada de Finlandia are by Andante Arreglade por |M-B. Pupit Disetputo * = 161 Bi con suoni Teacher “uc es Basstro = fra ae aes FINGER EXERCISES EJERCICIOS PARA LOS DEDOS in connection with Legato Bowing en conexidn eon el arqueo ligado Firm and decided setting of the fingers, Pingase los dedos en las euerdas de wna ma~ even division of the Bow, and starting with | merefirmey decidida, dividiondo ef argueo igual- groups of four, then six and finally twelve mente, empiece con un grupo de cuatro notas notes in one bow. en un solo arqueo enego con seis y ultimamente eon doce, eee SF SH wos ae se debe omloar para ta primera y aera taeda de argue Src tet sy Cie cmplear solo part ta 40 inte Ui icdid oe amten eee ewe wee ee #38 time for firs and third bowing variety. atime for second bowing variety only. CDixz- 2 Mai Bang — Violin Method, Part IL ETUDE ESTUDIO To be practised with four, six and finally Practiquese com euatro, seis y por ultimo twelve notes in one bow. doce nolus ea un argueo M. B. 2 =SSae oO pangran ares aeetaetgess ee i ns MENUET MINUE Handel Moderato Arvagtads’ pik | MB Pupit iscipulo 163 of Teacher = Maestro Dine 5 Maia Bang THE ROCKING BOW (Barriolage) The undulating movements of the Bow nec- essary for crossing the strings as demanded in the following studies, must be produced and con- trolled by the wrist and fore-arm and played with the greatest evenness. Use the whole bow but move it only to such an extent as will enable Violin Method, Part I EL ARQUEO OSCILATORIO Garriotage) Los movimientos ondulatorins del arco necesa~ ris para pasar de una cuerda & otra como se exije en tos estudios que siguen, se doben producir gobernar con lamudicca.y antebrazo, y se deben focar con la mayor exactitud, Se dibe usar todo el arco, pero no se mucvu mis que para permitir the clean transfer from one string to another. | éf traspasa claro de una cuerda @ otra. Pise~ Draw the bow quietly. se cf arco suavemente. Whole Bow:- 8 part Todo et arco: Ys parte for each note, EET para cade nota. ) geen > 2 2 — e —~ 1648 = ee Ree ee tS ‘Whole Bow:- 1% part for each note. a wo . 1642 Lait ee Ze Todo of arco:- Y6 parte para cada nota, omen W— b +) To bo practised (a) 2 notes in one bow: (by notes in one how: (¢)6 notes in one bow. CDixz- = <= ScUae sear ne eae pe eae ie Ss Ss. ‘Para practicaria) Pmotas en un argueo: (6/3 notas en ue arquto: (e) 6 notan en wn arguco. Maia Bang — Violin Method, Part I ETUDE I ESTUDIO I Both etudes T and I to be practised with | Los estudsos Ty 7 deben practioarse con a Joose wrist, whole bow, even pressure at every | muiieoa ligera,con todo el arco y una preston point of the bow, from aut to tip, and at first | igual en cada parte de éste,desde v tatén hasta with various bowings as illustrated under A,Band c. fa punta, usando primero los arqueasitustrados en A, ByS. stomly eeebieio. quickly Sprit ¥ See | Todo ot arco, ta sexta parte para cada nota. Zz ETUDE | ESTUDIO I slowly quiely a 4 bh efgatie Gite Moderato ond finger to be placed on F and C at *) Péngase of segundo dedo en Pa y Do al mis me mo tiempos & CDixz- 38 Maia Bang — Violin Method, Part I LONGING ANSIAS Norwegian Folk-Soag Cancion popular Norwega Arregiata pat \M.B. Andante (slowly) Pupil Diseiputo 167 nf espressivo Teacher Maestro No fuerce demasiada la sién del arco! Suspenda la vibraci Do not exert too much pressure upon the bow! It stops the vibration of the strings and ruins the tone. The tone production must be as free and pure as that of a human voice! LA de las cuerdas y arruina el tono. La produceién del tono debe ser tan puro y libre como la de 1a vor humana! L.A. CDixz- Maia Bang — Violin Method, Part I ARPEGGIO BOWING EL ARQUEO ARPEGIADO ‘The literal meaning of “Arpeggio” is “to Bi sentido cxacto de “arpegio” es “arpear”i"co- harp” or‘in hurp-like fashion” In violin playing | moen manera de arpa” Tocando ¢f viol it denotes the production of the intervals of a | dica ta producctén de los intervalos de un broken chord with the bow passing rapidly a- | guebrado,pasando eLarco por las cuerdas répidamen- cross the strings. Arpeggios occur in manifold | t¢ Los arpegivs acurren con gran variedad en tres varieties across three and four strings. The | 6 cuatro cuerdas. Bl arqueo oscitatorio (Barricl Rocking Bow (Barriolage) already met with on | ge), que ya se encuentra en ta pagina 152, sir page 182 will serve as an excellent prepara- | como preparactén cecelente para el arguso arpe- tion for arpeggio bowing. giado. The bow should sweep across the strings Pasese ef arco despacio al pasar de una cucrda quietly, without unnecessary movements of the | 4 ofra, sin movimientos supérftuos del braso arm or wrist and every note must be produced | dela muicca, produciendo cada nota clara ¢ igual. clearly and evenly. Pingase simultancamente los dedos necesarios en «, An important rule for arpeggio bowing: | Jas diferentes ewerdas y mantengalos firmemente Place the necessary fingers upon the different | an da misma postetin durante el compas entero, Htrings simultaneouly and keep them down firm | es una rogla importante para el arqueo arpegiadd. ly for the duration of the whole measure. Use part of bow as marked; special atten- Use ta parte del arco indicada, dando cten- tion to even division and the Up-bow. ctén especial & la division igual, y la subida del arco, Arpeggios Across Three Strings Arpegios ul través de tres cuerdas b YG bs coe 168 ot seas > 7 = N= F oS GF 1+) Play those exereaes also on upper strings(Dy As |») ovare eta ojertos tambon a nts eardas ey 8) a fifth higher than written, using “f8" on E string. ‘La, Mi una quinta mas alta como sserita, usando Pion ta conte ete CDi 37 Maia Bang — Violin Method, Part I EXERCISE | EJERCICIO b) NF ET NG Ne Arpeggios Across Four Strings | Arpegios sobre Cuatro Cuerdas Use part of the Bow-as marked and ‘ways remember its equal di 5 7 a » Usese la marcada parte del arco, y stompre recutrdese dela divisin igual. EXERCISE | EvERCICIO. CDixz- 38 Maia Bang — Violin Method, Part I SCALE OF Ab MAJOR ESCALA DE Ldb MAYOR Half-steps: C-Db and G-Ab Semitonos: Do- Reb y Sol- Lab Preparation: Preparaciin: © m. Pupil Diselputo 170 Teacher Maestro Also to be practised: Se debe practicar también: ° n aes ae ee o Wisre bow - Where ied edarco N Tado'el are BROKEN CHORDS ACORDES QUEBRADOS aya CDitz- 38 Maia Bang — Violin Method, Part It A CRADLE SONG CANCION DB LA CUNA (Sleep, my little Prince!) (Ducrme, mi Principtto!) Do not overlook the rests! Wo se olvide las peusas! Mozart Andante Arvegiad poh | M. B. o Pupit Disclputo el 472 prwith tondor feelin 5 Teacher Masstro ‘oon Termura 40 Maia Bang, THE PEASANT WOMAN AND HER ROD Norwegian Folk-Song Allegro . Pupit Diseipule 473 fv Teacher Maestro Violin Method, Pat I LA ALDEANA Y¥ SU CAYADO Cancién popular Noruega arn by ‘Arregiada. por |M-B- CHROMATIC INTERVALS Chromatic intorvals are very difficult to play in tune upon the Violin as the neighboring half steps of any interval, either higher or lower, are generally played with the same finger. On this account particular attention must be given to the intonation. In moving the finger up or down for the necessary half-step, it should glide with precision and must never be lifted. Do not move the hand, only the fingers, 1 Each note with a separate bow at first; then two notes to a bow and finally four notes to a bow. a a 47% _—_ INTERVALOS CROMATICOS Bs muy dificil tocar los intervatos erométicos on ef violin de manera afinada porque tos sems- tonor vecinot de cualquier intervalo, més arriba 6 mis abajo generalmente t0 tocan con el mismo dedo. Por eso se debe Sijar atenciinespe- cial en la entonacién, Cuando sube 6 baje el dedo para el semitono, debe movorse suavemente ¥ con precision y nunca debe alsarse, No 56 mueva la mano, solamente los dedos. Z Ai principio tiquese cada nota en un argues separado; despues dos notas en un argues por ultimo cuatro motas en un argueo. b) Maia Bang — Violin Method, Part I THE CHROMATIC SCALE LA BSCALA CROMATICA Each note with a separate bow at first; then | AY principio téquese eada nota en un arguco two notes to a bow and finally four notes to a | separade; despucs des notas en un arqueo,y por bow. ultimo cuatro en un argues. i Maia Bang — Violin Method, Part I CHROMATIC STUDY ESTUDIO CROMATICO Allegro Blumenthal o — Pupil = Diseipulo st 176 up — Teacher Maestro Maia Bang — Violin Method, Par Il aes CDi 4 Maia Bang — Violin Method, Part I i CHROMATIC PASSAGES PASAJES CROMATICOS and Broken Chords ¥ Acordes Quebrados 0. Noviéek fn 177 5 PETITE VALSE PEQUENO VALS | ; A. Hensett Tempo di Valse 4 fe tS Amped ih. Pupil = Disotpulo 478 (P grasioro Teacher Maestro Maia Bang. BOWING and left hand exercises Violin Method, Part I EJERCICIOS DE ARQUEO y para Ia mano inquierda 179 Also to be practised: a ENHARMONIC CHANGES ‘The use of accidentals such as sharps (f) and flats (, for raising and lowering any given tone at will, also enables the so-called “Enharmonic Change”, in which two different tones are rendered identical in pitch through uso of either of the a - bove- mentioned accidentals. For instance: is identical with is identical with elo mismo que Se debe practicar también: sige awe e, ENARMONICOS CAMBIOS El uso de las alteraciénes accidentales, talés como Ios sostenidost})y bemotes (h) para subir d ba- Jar voluntariamente cualquier tono, tambien fa - cilita,to que se lama el Cambio Enarménico? en el cual dos tonos diferentes Uegan & sor idénticos en la entonacién por ef uso de cualquiera de las alteraciénes arriba citadas. Por gjemplo: lentical with 3 es lomismo que Se 8 ioEti gue is identical with es lomismo que The tuning of a well- tempered piano renders these notes absolutely identical, although the per- fection of intonation possible upon the Violin, enables an infinitesimal difference between the various intervals; for instance: to be stopped slightly higher than Se debe parar algo inds allo gue *) Careful attention to the Up- bow! CDixz- 46 is identical with es lo mismo que S=e= a entonaciin de um Piano bien afinado pro: duce estas notas absolutamente idéntieas, aunque ta entonactén perfecta, en el violin, fucilita una infinitesimal diferencia entre los varios inter ~ valos.orejemplo: se $e slightly higher than un poguito mas alto que *) Atonctin cutiedosa & ta eubida det atcot Maia Bang — Violin Method, Part I THE WALTZ OF DESIRE EL VALS DEL DESEO . . Beethoven Valge Tente” Arregiado’ poe] MB Pupil Discfpulo 180 Teacher Maestro eee ee a Se oe +) Valeo lente= Slow Valse tempo 2) Tismpo de vate despacio #5) O'flat like B natural, use #2 Finger 8) Do bemol teuat gue $4 natural; tisces ot primer dodo! CDi ” Mai Bang — Violin Method, Part I SCALE OF F MINOR Hatf- steps: G-Ab and E-F when ascending Db-C and Ab-G when descending BSCALA DE FA MENGR 1 Sol Lab y Mi Fe ascendente Beb-Do y Lab-Sol descendente Preparation: Prparacién: Pupil Pisctputo 4814 Teacher Marstro Also to be practised. Se debe practicar tambié © BROKEN CHORDS | ACORDES QUEBRADOS 182 Dine “ Maia Bang TONAL SHADING Increase and Decrease of Tone Crescendo and Decrescendo ‘The ability to vary and produce every possible degree of tonal shading is entirely dependent upon the capable manipulation of the bow; with aid of the latter the Violin can vie most successfully with the human voieo, in point of vocal quality and ex: pressive feeling, as illustrated by the indescribable charm and glowing tonal beauty which the fin- ished artist imparts to his playing, Three prin + cipal varieties of tonal shading are to be taken up with the following exercises Forte at the Nut Piano at the Tip Be careful not to scratch while starting at the Nut. Use the wrist for increasing, Count: 8 183 wrote bow a) Teda'la Vongitud det areo —V Violin Method, Part I MATICES DEL TONO Aumento y disminuicién del tono Crescendo y Decreseendo La habilidad de vartar y producir todos los gra- dos de matices de los tonos, depende enteramentede Ja inteligencia de manejar el arco.0on ta ayudade dete, ef violin puede competio con ef mayor suceso con la vos humana on ouanto & su calidad melodiora _y sentimiento expresivo,que se ilustra por et indé- seriptible encanto y la hermosura colorida del tono, que el artista perfecto comuniea & sus sonidos. Tres variedades principales de matis tonal deben estudiarse en los siguientes eferotcios 1 Forte en ef talén Piano en la punta Cuidese de no rascar principiando en et tatén. Use ta muiieca para crecer. 2880. —$—$— ete ap Dn = flix pk Whole bow efeee ta nage det ree ee a p), a oli CDitz SSS SS 49 Maia Bang Violin Method, Part late pita Ti == = tai pate Il. Piano at the Nut Forte at the Tip uo. Piano en ef talén Forte en la punta Oooo forte Due to its natural construction the bow is heavi - ext at the nut, and lightest at the tips quence and during the actual process of playing the bow will be much weaker at the tip than at the fut, where the natural weight of the hand, increased through its raised position, tends to add consider - ably to that of the bow. In order to equalize this difference, the following exercise, one of the most serviceable for this purpose, is to be practised pi- ano at the nut, forte at the tip. It is highly recom mended by Prof. Auer, for steengthening and de~ veloping the students bowing ability. Whole bow Arqueo entero DE BBBEBBEY! Tn >. ————— st ey y fe ) v Cale — punta’ — piano Debido ti su construcctin natural, el arco pera mx hacia el talén gue hacta la punta. Por con- siguiente, al Cocar,natural,el arco es més débil em Ja punta gue haoia ef talén, donde el peso natural deta mano aumenta por su posicién elevada, Para contrarsstar esta diferencia, ol siguiente ejorotata, uno de los mas ittles para este propisiro, debe ser practicado Piano en ef taliny Forte en la punta. Bl Profesor Auer lo reoomienda altamente para eh desarrolio del arqueo del estudiante,