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Ser F Simand! NEW METHOD FOR THE DOUBLE BASS Revised by F. Zimmermann Edited and Annotated by LUCAS DREW BOOK! amp © 1908 by Cart Faces, ln Nw York ‘oper Square, Neve York NY 10003 ‘ncorotoe! Coppin Saree Al ights reserved including performing ight. B CARL FISCHER, Inc. {82 Cooper Square, New York, NY 10003, ISBN 0-6258.0962-4 Preface to the 1984 Edition. Book I. "Any method relies on the eacherand isa guideand a means of having an organized approach to one’s study at hand, Tt is with the utmost respect for the legacy of Franz Simandl and the professional contributions of Frederick Zimmermann that I make the general pedagogical suggestions listed below, ‘The mus fingerings, bowings and even the page numbers in this edition are identical to the Simand! Method for Double Bass, Book 1 published in’ 1964 and easlier Carl Fischer editions. All com- Frentary by this editor is based upon the premise of developing a sensitive musician as well as a technically proficient bassist ‘Simandl's remarks atthe beginning of different sections of the book have not been changed except for possible clarification of the English translation. Comments have been added as footnotes tohelp up-date current thoughts and practices. Inthe interests of pace and retaining the format of the original edition these Footnotes have been placed at the end of the book (pp. 137-144) However, your teacher may also clarify Simand!'s commentary terms of his own pedagogical thoughts. ‘The footnotes throughout this book and the following com= ments offer supplementary possibilities for the use of the Simsandl Method. Book t 1) Use the metronome for each exercise to help proportion the bow, thereby improving tone production, bow movement and bow distribution 2) In the early stages of study, practice a short section of an ccxercise and allow a measure or two rest between sections. During the silence the student has time to examine and adjust the position of his eft hand as well as his bow hand and arm, 4) Possibly, study frst postion prior to studying half position. 4) Slurs may be introduced at any time atthe discretion of the teacher. §5) When introducing a new position, a preparatory scale pattern or scale should “lead” the student to that position. Example; 19844E ENDIF LS gee BAAN ACH E PAMMOLITS ES SIS | AGAMETOS), SHCRAMEE TE, FHC HORDOMMOT 7 O—FOMI ED. 77 ZY yey FD Gm, DEH 77 (ee eZ OPMINTIRE EEA BUS BL, HUSELE HHT 2 AHORA LOHR ATI LOL ORR, HR KAT, ELTOMDA— PHTR LG. MOY 719 Ve REC, OAT SANE TL Te EROS, Fue S—ABME, H BLA CHS. COUGH LEE Fines, BanABLE RNIN LF THe» <— ARO MILEY C6 BREN OEARROMIRE YMLE LTH ONTOS couThh, Kho FROM DONA BYZy KLDIERES HERON DLICL MEMES, FEMA Cob, MEGS DiC L142, GMREREROUE E73 222, MEARE ELTA MA STO SMUD, HOTT ERTEY 3 AIETLIMLCs 3 (ITEC MULE CL ED, ADMD AME DEAOLLO AAEM 7 2" DOOMis RUEE IZ SIM MOA HS CHA MNBL MAROMBLE (2 72 UMN HL ABO AT TAME RHEL AEEL TOS 1) SHAM LT. BOMBA NATED, 4 REZ ORE WHT SLE. TREE THON LY, GOSH LH. HORTA HLOMELLMS. 2) PROMEEC, MAMNON AEE LAO Ig, DRA SUR ZOE SES SE. Geib CPR BREW OPRMAI CES, OREO LBS, BITS.) 3) nn 7 tt HTH AI (AMOUR, HOBAL THEN THS I AVEO b, Ry ay LERERETS a7 5) Lie ay RATS, FRIED CP — >. b eRe RE OT, PRRELORTY a 76 Ws NE THS. a ¢ \ 6) The teacher should point out sequences and phrases to the student throughout the book as an aid to musicianship and ~ intonation \ 7) Point out the many places to crassfinger in most exercises. 8) The teacher should demonstrat to the student his preferred \ © bowing styles) for each exctese (ie. length of notes for \C_ detaché, martlé or sight variations of these base “on the String” bowing sles) ~ 9) Very few dynamics ae indicated by Simanal so the teacher \ may wish toadd them discreetly after the beginning student has developed a good concept of tone production (the full Vibration ofthe sting). ~ 10) tn general, some bowing articulations or rhythmic patterns \ in Paris2,3 and 4 of Book I may need preparatory study The teacher is encouraged to. write brie preparatory \ exereses using repeated pitches (or open sings) prior Co Introducing particular rhythms © 11) Remind the student that asthe lft hand moves to a higher position, in general, move the bow cose to the bridge 12) With the teachers guidance the student should be encout= \ aged to increase his range vertically on the Gstring(r other Strings) at the same time he is learning the. positions \otizonally (cross the fingerboard) 13) Refer to Seales, Triads, and Exercises for String Bass Beginners(O4401) by Dmitry Shmuklovsky as a supplement “to the one octave scales that are included in Simandl Method, Book 1. All major, melodie minor, harmonic ‘minor and chromatic scales are included inthe Shmuklovksy book. \ 4) When possible, prepare the first finger when descending, Likewise, when ascending, prepare the fourth finger. 15) As you ascend, the distance between notes is smaller. “+ Always be awafe of the spacing of the fingers of the left band. 16) The teacher may assign sections of Parts 2, 3} and 4 of the ~~ Method at any time he deems appropriate. ~~ 11) The teacher may playa simple piano accompaniment with some of the exercises, Playing with the piano helps the student develop better intonation, ‘Thisedition preserves the original and atthe same time suggests \ other possibilities. It is hoped that the general considerations in ‘the preface and the commentary throughout the book will aid in \ the continued use of Simand’s Method. y Lucas Drew 5) Mons, aM BMD Lx» AEE SIMON ELC. BNE DOT, MAEM ET HAT 1) FMA MMOMBI LC, GAH BVI MORD EC, aL ia BARA HEL CHF CMDS, RAR EE LC) at Dea, RPMS LPBL TOS, 13) S92 FORMA, MIRREN SAT IR—TONMD MELT, FEby sy a2h207RE—DARY YS © SAAB CHORHORR, SHEL AMA (CHILE BONO 2BRIT = ZICH, TORE, KONA, MVENOMLTA, EL CR Raeheos. 14) eeembe2, “FRY CHE 1 aH EAGT wa eMS. HSE, PLRORMIM EINE CLS. HBO ISO ELEG FS sone: 15) RRO Warsz 16) Heme, = OFMEOAL, Ul, WA GH LI MHEVOTL PREAH TR, 1) Pub, HATO COMO. MET 7 HAE BO, PUREE TET 7 EORGIZ, £) RIED LON es, = mmc EAN C37, Mp Stk ovaT ARES OFT HER L RLOTHS, ARDMORE, IEEE COMIN, Ue 2 FLORRIROMRRAOIDET Ete ASE BM THEE Bs WAR? Ko About Frederick Zimmermann Frederick Zimmermann was born and educated in New York City. Hestudied Double Bass with Herman Reinshagen whom he succeeded on the faculty of the Juilliard School in 1935. Reinshagen had studied with Ludwig Manoly, a pupil of ‘Simandl Zimmermann was a member of the New York Philharmonic from 1930-1966. His numerous transcriptions and editions are staples inthe literature forthe Double Bass, He died at the age of 61 on August 3, 1967, in Ohlstadt. Germany. About Lucas Drew Since 1959 Lucas Drew has been Professor of Double Bass at the University of Miami. During this period he has also been Principal Bass of the Miami Philharmonic, the Miami Opera, and the Miami Chamber Symphony. During the summer he is active as a clinician and recitalist throughout the United States and Europe. Dr. Drew has edited many publications for Double Bass. He \was editor of publications for the International Society of Bassists for eight years and isthe frst double bassist to hold the office of, President of the American String Teachers Association (1982-1984), DEF WD IE IAIAIEUT DERN Dey gremeriba an 37H Fecron ERI. RUTTER A bee = 42% PHL. 1935 AUsIa 29 7— FRRRORIERER DIMEN Te. 94 IB, Ley MORI TH EN BIE 7 VEEL TS ye vane yid, MMOH HMR Can IAT TENN E AHR WH 2t, MEE ZREL Db PYRITE ae MIME, 77% SADE HOME LMT &. HITE BA pane a Fy ROU TOYOTA) WAAR KONIEOUT L958, Ws Fg N—ISTA TERED T REM WRREA 2, DHS, UREA TE 27 (rhe TRE, 2A 7 STAAL, 24 7 RNAI EB HE OH Coy SEMI ASG BRL, AR IRUE 8 yA WTAE LT. BE PT FET SEE CHL TO FRM I TH ROrteORE (OMNI ERIEL TB. FRU ORL, DIRS 2A OWA ELE, BARA OBO (5-2 L CISD CORINA HIRE SOMME 2. Biography Franz Simand! was born August 1, 1840 in Blatna, Bohemia He was a pupil of Joset Hrabé (i816-1870) at the Prague Conservatory from 1855-1861. Ava performer he was the leading bassist ofthe Vienna Court Orehestra for many yeas. Simand! was Professor of Double Bass at the Vienna Con- servatory of Music from 1869 until 1910, His comprehensive method “summarized” 19th century double bass technique and included many original compositions and transcriptions for double bassand piano, Sian didn Vion on Decrber 13, fe ie TIDY Vey KMALIBMOE BIL, RAETOTI bOFS Me Rotsy MELAIBSSHE DD ROLER CF SBM CTT 77 1816-1870) MHC raw! RE LC IRIE, HAE 2 AMOI ANTI of Dey FILL, 188MM ISIS CY (2 RDF T HX ROMER I. RONEMD AMAL, HBO IT ~ ANE HA LTH LEON DME oy keto 12A 13 LOLITA AO REET ORD FOL APN TY aPEBA THE, Tenvet vi ‘open strings half |position os, second pos. Fingering Chart” TUNING BY HARMONICS IN THIRD POSITION 1. Play an A major scale (one octave) using the second and {outth fingers respectively for G sharp and A onthe D string inthe thitd position. Example 1 pos. ll, aan ontnankea Dstring 2, Touch the A (third position-D string) lightly with only the fourth finger. (measure 1) 3. This note sounds A (one octave higher than the pressed A), Adjust the D string accordingly. Turn the tuning peg clockwise to make the string higher in pitch, counter: clockwise to make it lower. Finger Harmonic * From Safes. Thad & Ewer for String Bus Beginners by Dery Shrlonsky 4. Keepinga good left-hand position, touch lightly the D (third position) on the A string with the first finger. This also sounds A. (measure 2) 5. Match the two A's 6. Now touch the A string lightly with the fourth finger and ‘match it with the first finger on the E string. (measure 3) 7, Touch the D string lightly with the first finger and match it with the fourth finger on the G string. (measure 4) 8, Uses full bow (down bow on one note. up bow on the other) ‘when tuning 9. Always play first the harmonic or note that on the tringin tune: 4 fee Drew. Cal Fischer (04401) - at ti de” vi we | 9 4 i * years | tye x RYY a VINTON Bay 7A E MEH SDHVE INTE. 1 RMINM L779 LONG H UNCHE LONER DALICHEC DAREN, CREOR A <1) EDMLTR ARAL. ya P—eriiLs) AmB, ZNEL oT ESD Gbes, CHAT) ~ HrkmeMe CHAT SSE, DREMBTSOE. ROLY Fem CT —— OMRON, EARNS blac BELL, ABEGHLI, fad k Sd DHEMLT RUT, KOU a biLerace. ae, DELORPOMERE EOS LMC NIE, RE AMLOR (RT 7) BAEC HEAL SHULL CHIT 3 = _ Be SERRA BINNS, OBL) 201K FE RHEE. ~ 24th Oty ym, DeD BAMA OME ATOR AMER, EHO 1H HONE ai (18m) ERD GbeS, RST) ~ De A) on RHE, Pan POT ANH ARIE Rm AMOHD RRORM GOREN, 717 Go ee MROMEOE Preface to the 4th enlarged and improved German Edition Although the methods for Double Bass which have appeared in print up to the present time have many good qualities, I have come to the conclusion that the majority are either not complete or are too complicated for general understanding to supply the student with a thorough education on this particular instrument in an easy and practical manner and in accordance with present-day requirements Inconsequence thereof, and in answer toa special request of the Vienna Conservatory of Music, 1 was prompted to write this present Method and have directed my special attention towards arranging the instructive material con- tained therein, in as progressive and explicit a manner as possible. ‘This Method has been published in two Books, and the contents have been arranged and distributed as follows: Book I, designed as a thorough schooling for orchestral playing, contains all the Positions, Major and Minor Seales, Intervals, Bowings, Grace Notes together with necessary and appropriate exercises all the various styles of Writing for the Double Bass, examples of Recitative and Melodramatic Music, as well as extracts from prominent and well-known Classic works, Book Il, offers a Systematic Guide for Solo Playing and | have aimed to present the Thumbposition, which up to this, time has been treated in a somewhat primitive fashion, in a reformed system, in order to broaden and facilitate the domain of Solo playing. Furthermorea complete course of all the Harmonies is presented to the pupil, and numerous Technical Exercises and Studies of every grade and form, preparing him thoroughly for Solo playing. In order to offer the opportunity for self-tuition to all those who are not in a position to procure the aid of an accomplished teacher, 1 have supplied both Books with plain and easily understood explanatory remarks, with the Rope that they will add grealyto the practical value of the work, In conclusion 1 will add that this Method has been introduced at the Vienna Conservatory of Music and has. been received very cordially by the general public. I have achieved the quickest and most satisfactory results in a relatively short time through its use. Franz Simandl FRO NOTA 1 7 BA Bion te apts AUMWMERTHS IT + <— RADOVAN HIER LOMB bm boF, EOL CEES EK WTAE, BL CLE ARMIN OD ab ICI BY IS HN TRSNC, PRAY L IMMNIAIET, Li bad WORE TORBEN EMT LIE TRB, 205 ARATE ALLIE Lit DEI AMUN E 4 7 ERB ORT MMS AT MISE COKMWAERES, LODE SIEM fii THE 2D NR A SC TTR OAS ED ZABBIOMME Lite COMMAS 2 HMCHMS NAILED £52 Ths: HIB, TAN IHRORDOYMHME LTH NCB), STORSY ar, RMROMBC LR, BORAT, BMG E SOMME Mh BR MERCHA LL REIT MRO rwicteMa SCOMBEMN, VEIT 4 —IRUAOKSTFE AOD BRO SUCRE FY 9 7 HME DOME CHH SiG ELMO DITO TOS, B 2B BROKDORROBR TH) FN CH BUS SORT DIT S AOR EY a vb WF OOEMMTSCELD, MMOROOMRERITS ( EBISPBIST SRI, CLERPT SCE ERGO SOLPRBORDE, STONER PROBANEM, ELCHSS OBASL, BITS ESM OR BRE ARI Pend BURNERS CST HIE OFARONNLS BAY BALMER HABIT Bea ANZ 2 MOA, LOKMMVKHLD KUM ATS =e EMO ES CME L BURRS bo CHL tee EOI, AMR OAT 4 7 RETR. EAS OHMS TH SE SHTML THC. BL (dS SAME SSC HMRNOTIRNIMIAE I BC HG TET NS HOR Erk LTD ChB. TIP Lew COL OCOCOOCOEL ELE CC Ce C4 - oa of the Double Bass YT + RANG BEE 1, 2 RAE A EEC EB 5, oD UAAV Td SSV4 ATINOG AHL WOU SNOLLISOd LOAWAOD AO LUVHOD DIHdVaAIOLOHd TMM 1 ORU ORY VALS & FEL, IN. The photogs have Ben repro rom the original eon Part I. The Position of the Player. In taking his position next to the instrument, the player must stand in such a way that the weight of his body will be born principally by the let foot, the right foot being advanced for the distance ofa short step, and in an outward direction. ‘The body ‘must be held as quietly as possible, and in a perfectly up-right ‘manner, The instrumentis placed in front to the lft,in sucha way that it will incline somewhat, but very slighty, in a backward direction towards the player, and allowing the hack right edge of the instrument to fit into the left thigh of the player. (See Illustration). How the Bow is to be held. ‘The bow is held by the right hand through means ofthe fore and ‘middle finger being placed ina downvsard direction on the side of, the stk, and the ring and litle finger lightly clasping the nut “The thumb, through which the actual pressures brought to bear ‘uponthe whole bow, islso placed ina downward directionon the back of the bow, opposite to the fore-finger, the serew coming to lay between the latter finger and the thumb. The bow receives its only contaet while being used through the pressure ofthe thumb, as well as through the counter-pressure of the strings and the fulcrum of the serew, between thumb and fore-inger. The nut, in order that ease and dexterity may be achieved in playing, must never be pressed into the palin of the hand, (See Illustration), How the Bow is to be drawn. In order to draw the bow correctly it is principally necessary, thatthe arm is held ina natural, unrestrained manner and without coming in contact with the body. The movements of the upperarm are very sight, the elbow executing the most and the wrist being, ‘used for the most important ones. However the shoulder-joint of, the upper arm must not bealloved to remain tif, but must be kept responsive and very exible, ‘The bow is drawn horizontally and its stick turned somewhat in the direction of the finger-board. It must touch the strings inthe ‘middle, between the end of the finger-board and the bridge, However, it must be observed, that whenever the tone is to be increased, the bow should be moved nearer to the bridge, asin this way. the buzzing noise, caused by the hitting ofthe strings against the finger-board, wil be entirely avoided. The Tuning of the Double Bass. ‘The Double Bass is wuned in fourths: the highest and thinist stingto: SE thenextto SEE thethindto: SS and the lowest string to: $= Beethoven, Cherubini, R. Wagner and many of our modern ‘composers have written bass parts for some oftheir works, which ‘makeit necessary to tune the Ath string down to low € or C sharp, In order to bring this about without extra exertions, Mr. Carl Otho, a member of the Leipzig Gewandhaus Orchestra, has invented anappliance for the Double Bass, which makes it possible to produce the Contra C upon the instrument. With is aid the intentions of the composers in this special direction can be satisfactorily fulfilled without necessitating the re-tuning of the instrument by the player. He has simply added a fifth string to the Double Bass and the result has been a very suecessful one. Hans ‘von Bulow made use ofthese Stringed Double Bassesin hiscycles, ‘of Beethoven concerts and quitea number have been introduced in ‘our larger modern symphony orchestras. FS. 1A REO ERBORERML, HANI Z IKKE (iEisODIEO HOARD AMEN ee histo ou, MIKa, C8 S2FMRMEL 8A WRB EES, RRPA IIIS | MAS Cb te u NMMEMEL ES, AUAST EY CAT, HOTELES bs YMRREBIC, LO SMITA REMOTE PEL UMEIRL, 1K FRA ORARDIEARI A =F % BF LAA Fs. BIS S 2 eR Vets TM Down Bow VY Up Bow [N. Bii@ aioe Neat he Nut or Frog bo] Taken T. atthe Tipor Pom {ofthe Bow Min the Mide MAORI BIE COMER Exercises on the Open Strings. 150 Bice ABO HOE CURD SHS BALES rc Wt T ier Place the,bow upon the strings closet the nut and draw itdown and up slowly and lightly as marked in the following exercises, Explanation of the Signs for the Bow. | | During An stain Dee aa G String E String LOL RE RUE, KIS ON wo6y, ELT On the G and D String CHE DEES 2 On the D and A String DIRE ABLES On the A and E String ABLE EMEC = = = ‘On the Gand A String | GRRE ABLES 5. On the A, D and G String AG, DBLE GALES 6. On the D, A and E String | Di ARLE ELEC = oa = 1. On the G, D and E String | GH DRE ER ET Hi At etivoriat cto wi be found atthe bck of he book on pags 137-164. | KP comtivekomriroiane ws, ~ Exercises on the G, D, A and E String u in Whole, Half and Quarter notes. teda v Gih, Di, AMAOERE COME SAT, QOH, AoA & ‘These exercises on the open strings are to be practiced untit a firm and graceful command ofthe bow and its manipulation has ‘been acquired; constantly observing the rules as to position ofthe body, together with those for the correct position and use of the — bow. The Positions. ‘The placement ofthe fingers of the eft hand upon a higher or \ lower point of the finger-board is indicated as a postion, As the hand may be advanced to different points of the finger-board we ~ distinguish different positions; commencing at the nut or saddle \andadvaneing in steps of one halftone, these are named according to the higher or lower positon of the interval. For orchestral \ playing more than twelve positions are seldom employed these being divided into the “usual” or “half,” seven “whole” positions ~ and “Tour” intermediate” positions. In addition to these there is the“Thumb-position.” which is rarely employed in the orchestra ~ ‘but which is frequently used in solo playing. Detaled explanation \ ofthis last named position. as well of the harmonics occuring in the various positions, will be found in Book 1. Explanation of the signs for the Positions. bP. indicates the usual or “hat” Position. = first Position, second. third fourth fifth sixth seventh 2 dene hat the noes ae between he second and third poston mm Gy ttm tt third > fourth * te gi > sixth > sixth * seventh * “indicates, that those notes over which the ‘y siznis placed, are to be played in one position, SOME ECOL BO Lom) & LiMn MME ENS ECHMANCONEES EO, MhOLME GOEL BE UIEREB MME LORS UE te, GRY ay HMC LO LI, BTL PIN IME SEROMA, BY 9 PEL TRAILS, HM LOR SORE OGLE BOT It, MotKyy POM ETS. EMDMIM MDT. BETO UII HMEES. SHALL, LOT ROMO BMH Tet 5NS, THT ARPMMBO TH, SC ENERO TY MER, LAGU SHR, BRIE 712,190 ea Bear REI, OR Rey aye MERS. SEMLT, TATARSTAN THE, MATH LULIM bts MRDAYY a7 913. CORDED Y a7 k, Bannyys oO ROU TOR BYORI OR MP MRE oo, YY a PERT Lo8 BAY Y are Ws m2 er Ws Ba von BS 8 vos Be Wor 7 Gf a. wanuw soy »onmomenr. Hoy wae ws : or ws ws : uw ; : Who mee m7 eee HENS ‘The Position of the Left Hand. ‘The ball of the thumb is placed against the neck of the instrument in such a position, that beginning with the “half” position, the thumb willeome to stand between the fore and middle Tinger up to the V Position, The strings must be pressed down firmly with the tips ofthe fingers in order to produce a clear and voluminous tone. Also, the fingers must be well separated and stretched apart, particularly in the “half” and “fist” position. While the forefinger is placed i an upward and the small Finger in'a downward direction, the two middle fingers retain their natural position in pressingdown thestrngs. The holding of thearm must be free, unrestrained. and entirely in accordance with whatever movements the hand is called upon to execute, The above- described position of the hand must also be retained while changing inthe different positions. Beginning withthe V Position, the position of the hand is gradually changed, and a detailed explanation therefore will follow. Explanatory Remarks on Fingering. ‘As the finger-board of the Double Bass is so much larger than that attached to any of the other Stringed Instruments, itis plain, that in its division (mensus) the intervals will be found at a much sgreater distance from each other, and that in consequence the treatment, as far as the fingering is concerned, must be a radically dliffereat one. In this way the frst, second and fourth fingers are at the command of the player up to the VI Position, an interval of one-half tone lying between the first and second and second and Fourth fingers. ‘The third finger serves as support to the fourth and only comes. into actual use in the VI Position, where it is,used in place of the fourth finger, the latter not beinglongenough® In pressing down string with te ist finger. the remaining unemployed three fingers, ‘must be slightly raised. While playing with the second, the first finger must remain upon the string and assist the second in pressing it against the finger-board. Ina like manner the thied finger must be supported by the first and second and the fourth by the first, second and thie. Explanation of the Signs for the Fingers. Open String. First Finger. Second ” Third Fourth * ‘The “Usual” or “Half” Position. I the first finger is placed upon the finger-board one halftone higher than the open string, the hand willbe in the “Usual or Half Position” Hal-position also contains the following other hal-tones: On the G String |G#RE-C a. oy 8 yh arito G Gshap At A A Asap G On the A String JAE es or 4 i A Asap B Baap A Boat BC ' Sec explanation of he VI Posto, page 36 FEF OAR HEY 9 CMT IAD, MURMUR 9 7 ortsAehe, RYE ay VISAS 8 CMM. ORLA HD WMT, HIE EO RD ELE, Lan bond el DEMLTL MY LBERDAGIMUTEH Zh, EDDIE Fe kM, ORVE a vGHU TIE, ADMIT, ECUMS EFL TAMSIN eb. MEUM EL TAMAR HLM tAKIW CIE, AEE, ZORA WCHWTERS LS, BESSA SANE, GA LOL RIS bane HENS EA: < HMA ARIBIEA HH PLACER FORRES a 7 HNN BMNARLE 5 EP NEGA oN, KY a VCWMT SE TE. PORMERRE WERWANTHCH, ELEC TORMERM, ETS. RIC INT B PE FT Wes 5 AOMHELS, HOOD EA MER ISA AUIS HU BATH, KRIKEE LOCH, THC, SOMMER REA IMIR, FORY TE, ACME BUY 4 Bo ts ETH. LOLI ERRO LET, MIL, 1 ELA, RODE BamoMea el Pa MEBSEC. SIGH, 2, DAM, EBLAAOBRCBE SNS, IM, IY a 7 MO RRMORMIL BT, IS (SER SEBENANBAGEAILD IE, SOMME DEDSLITHS. PIMC EIRERSA SMALL, MYDS KOMI, bY MCE SOU COEUR Stes, BZA BHM. LSE ECM E SAAS T, D2 MOM BSL MME OES. Pn iikeC. FBS MALL, BL. BAL, AA HEL 2Rems Lo cMMshe Ure bo ED HIT 3% © teat 1 mim 2 m2" 2 ma+ 4 mae Thy tea TN 7, Ryyay UA ioe, mak 9 eR CHINE STAC fe FUE AREER IY Dy ARB BL 7 DENTRAL TOS. Beart On the D String | D&E b. 42h D Dshap -E Esha =D On the E String | EE, Ce ee ee ec = E Eshurp Fsharp Fdoublesharp EF Got 6 4 ms, HUE a MoMMe oN, + ve 9 L Exercises on the Separate Strings. On the G String ia he Onthe String. DELS ’ n a L ub as ¥ ‘onthe A Sing {A 1 VY abe 2 4 . ae Yo EHX ( F ov L On the E String I ERE = | 40 ot OR - Exercises for the Connection a = of the Four Strings AAO LE TOME Boy 1 10 F Major Scale | 2 eR B flat Major Scale | 2 Ses ® RE The I. Position. Ryyarvl In moving one-half tone higher from the “Half” Position, the ee cosen cares eee hand is placed in the “First” Position, which contains’ the following intervals: 1s REY a TERON, KoOmHRES. On the G String | G# It On the D String | D#RET a gt 2 ya ‘ ‘Asher B a © Eshap Faas FG at ‘On the A String | AMET On the E String | E# EC Gg 2 ole ees 4 @, 2 1 ye B-Bshap Char C flat Ct Finep G — Gsharp Gat, GA Mat ises on the Separate Strings. PIKE EDM On the G String CRET by On the D String DiS On the A String ABET On the E String ERLT Exercises for the Connection AOE COMB of the Four Strings. 1 vo 4 G Major Scale] } sea5:2¢7 f ul Exercises in the “Half” and I. Po: The IH. Position The hand is placed in the Second Position if it is moved | RY 9 > 1 EY 1A Hes - Poves cneshalf tne higher than the First Position. embraces the following imervals ‘On the G String | Gi Et On the D String | D#&EC a bb bs eo bere 4 2 ‘ Bot COC Ashap BC Bshurp Gm GC Esharp Fsharp F double sharp On the A String | Ath t-< On the E String | EM E-¢ Cara ot 44 pt © mt —-D-——Bshatp Chap Cdoubleshary —G_=—AMAE—AFouesharp Gham G double sharp Exercises on the Separate Strings. | BS LORE On the G String \ Che an = Mm On the D String DLT 4 . " On the A String | ABET ho On the E String EWES on all the Strings. Exercises in the I. and II. Position. C Major Seale. | /\Si8 RF 1. Position ATOWECO RLY ay OB the Exercises in Syncopated Notes Il. Position. in connection with the “Half” and I. Position. Notes. introduced upon a light heat ofa barand connected with aa heavy one. are designated as syncopated notes. While the syncopated notes may be written ina variety of ways, their manner of playing always remains the same. Ins immaterial whether a light or heavy beat is syncopated in ‘one note or whether the note of the light beats slurred to the next note oran extending dot, the two syncopated parts ofa bar must always be played in one bow, and the light beat of every syncopated note must be prominently accented. Exercise, in which the light and heavy beat of bar are syncopated in one note, Exercise, in which the syncopated notes are connected with she 2 ——— ov oy Exercise in which the heavy beat of the bar is represented by a dot. the latter being connected withthe light beat by means of slur. REY ayTA—T eT Lk ayy avItoyvyax— BB OBIT FRONT AEA, 2 TS vay EMEA LEaAn bai, MEEBO SM, ZOWAIRE BE MODS, HSNO MAN, 2 AEMRIN AB AL Te. WHE ZNSREE Dont, REMY anv ay fe by CHAS ALALUTNUED Be hess auees ts 0s RET 2 er I pavthe Lobia aT, 27H loo ey 226 Loomis EY, ZobioUMMnACE SN, ENT A OUT | wesc sReomR Exercise for the three varieties of syncopated notes, bp. i 318i > YARKY aYORDORE Between the II, and IIL. Position yy ar ME Momo an Intermediate Position Ip ay Ties one-half tone higher than the I. Position ee ee Sen LE ETB CHIE 3 The following intervals are contained therein re a On the G String |G#E-C On the D String: | Dit EC as be be Sy Lae i cm = c Dhwe B Bshup. —Cshap Gat G~—AMat~—Fsharp-Paouble harp Gaharp On the A String [ARLE On the E String | EME a 4 os 4 shi. Dest DEA Csharp Cdoublesirp Dstarp Aft A, Bilat — Gatarp Goubiestore Asha Exercises on the Separate Strings. BHETOMA i On the G String Geet mt bal ct On the D String DES Ww On the A String ARES (On the E String 7? Exercises between the II and III Positions BTORETO on all the Strings. Ryy aye lowe ba Exercii between the II. and IIL. Position, in connection with the “Half” and “First” Positions. i iit i ‘ in DBL te sv emonome 1 bP, ML TWP ooo ee il o m1 4 yi ith ie 1 On Tree tte. ha a, 19 20 ‘A flat Major Seale, 4 Jés8) °F n Sn The III. Position Js found one whole tone ayay from the second and one-half tone away from the preceding intermediate position, and contains the following intervals: On the G String | Gi Ec ag be be Ca ees sharp C sharp C double sharp On the A String | AEC ¢: ‘ D Ene” Fit Caatiesp Dita E Exercises on the Separate Strings. On the G String ec gill ab za eT On the D String fo 7? On the A String pasate ok On the E String hm Exercises in the III. Position on all the Strings. 21 Roya vill RY y avi, RY a TULL HONKY ENG, RES WAYS 7 EE ERORD AY. ROAR Eat On the D String |D#.I-C Dow G Amat A Fedouble sharp G sharp G double sharp On the E String | EMLE-C A Bfot BG double sharp Asharp A double sharp BRC LOM CHET b, DRET ARES BRET ETDOEETO RY a MORE 2 Exercises in the III. Position together with the preceding Positions. ie 4 D Major Scale.| = 22i81 FR RR ay RES ay MOMe cea , ~ A Major Scale, | 4 42th FR u Y a Mt et MH fase reat hp. ares i m1 f a m 2B Intermediate Position yvarvilENonma between the III. and IV. Position. Thi ay In order to play in this position the hand must be moved Senin. emer sts cone-half tone higher than the III. Position. It embraces the following interval: Roti 2 9 2 KOANRE mE, ER Pani e RUT Be On the G String | Gite On the .D String | D¥#E- ; fi 4 be he or 42 bar 42 bh or us sh si Dit D Ella Csarp Cdoublesharp Dalarp —Aflat—-A—-BMlat_— sharp Gdovblesharp A starp On the A String | A&E On the E String | ELT © 4 2 4 %, 1 2 fos aeees ceake, : Ent EF Dsharp D doubleshurp Esharp flat, «BC Asap Adoubleshasp Bahay Exercises on the Separate Strings. BRIE ORE On the G String GET um ‘ wv by b: by # 4 au a . cut On the D String | D¥LET a On the A String AES g tiv nn (On the E String | ERLE 7 e Exercises between the III. | ETORETO and IV. Positions on all the Strings. Ryys ye NOMBRE Exercises between the III. and IV. Positions together with the preceding Posi E flat Major Scale. | 8h ane ions, BARI Y ay END ay EN ORO 25 2% ur i Ww Teatto TTE TET IO The IV. Position™ RY ay is separated from the Third by one whole, and from the preceding, RE a WNL, RYE DME LOR EB, RLS Intermediate Position by one-half tone.and contains the following, Sn ELE OIE Bt intervals: On the G String | GH =e On the D String [Det.E-< a by 4 b. a. tobe hh ot Dem OF DDsharp—Ddoubleshurp ABMS shep A double sharp On the A String | A¥t On the E String | E8 -¢ Gt ee my a so, gw 2 4 EF. Gn © Esp Feb ODiltt sharp Caharp Exercises on the Separate Strings. IK LOBE On the G String CHES v On the D String I DiS T 7 7 On the A String ABT an + On the E String | EET z 77 T ETORETO Vy ay NORE Exercises in the IV. Position on all the Strings. 7 2B Exercises in the IV. Positio KRY ay BIES together with the prece Teta} 6 vrata ts © 0 B Major Scale | 2 2.i Rt Sn vw, ~~, si 29 30 The V. Position RyyarV ies one-half tone higher than the IY. RY Y a yVIR. RY Yo OL OME CRT, In this and the following two postions the thumb, which sofar | zoityo a 7k. arose a viol, by 2M ‘was paced along ihe middle ofthe ack ofthencck; now changes | wrists: fide ORCA, MUSH 2DKIL LOD this place, by gradually moving towards the left side of the neck, | Neg ese ee ceva geome “The V. Position contains the following intervals ots Deere Teter ‘On the G String | Gi EC On the D String | D&RET eyes : z 4 a be hy Ss t b. 4 2 or s 2 Ene EF Dstarp Doubles Estarp Mat BCA shap A doubleshap Bahay On the A String | A#& ET On the E String | Et C1 ys yg dy 4 4 F Git G Esty sharp ‘Fdoublesharp =< C~—«iDilst_—«D~S«Bshap— 2 iC Intermediate Position between the VI. and VIL. Positions. This Intermediate Position lies one-half tone higher than the VL Position and in playing upon the G and D strings the fist, second and third fingers are also employed. But with the following difference: while the octave of the open string is Produced in the VI, Position by simply touching the sting with the third finger, in this Intermediate Position the string must be pressed down with the second finger, to avoid the sounding of the ‘octave-harmonic of the open string as otherwise the latter will be heard, even if note be taken somewhat higher of lower. ‘Through the wrong placing ofthe second finger however, the placing of the third finger might also become faulty. On the A String only the first and second finger can be used, as the length and strength of the third finger will not allow of its pressing this thick string upon the finger-board satisfactorily. The Esting is not employed in this Intermediate Position. ‘The thumb, which up to this time has been placed upon the left side ofthe neck, is now moved to the side of the finger-board in the same position. i must be observed that this and the following Position may also be played in the “Thumb position”; but I would advise the student to master the fingering ofthis Intermediate Position, as he is apt to meet with quick passages between the VI, and. VIL Position which would beextremely difficult or entirely impossible iFexecuted from the VI. to the Thumb-position The following intervals occur inthis Intermediate Postion On the G String | Git Ee fb be ba ba BET Faharp Fdouble sharp Gsiarp Gat GA Tat Exercises on the Separate Strings. On the D String ‘Calarp Caoable sharp Dahasp Dat vi ‘vu # On the G String b fetes, by vi ryt On the D String | DBE Exercises on three Strings between the VI. and VII. Position. b ba % YY ay MEMO WMALDR Sy ay COMM YY 9 It, RD a MLR IR CHL GA UDHLTHL, 2. GEM THATS. LOL. dk SBOE MC EMIL TECH DY 9 ML eB i, BathiEe OXII— TEL. OWMEZY 92 Cid, DEBEAEUNIEE HEU, Eh, 2 Hawn Adin, SMO THOTL UEC BEL TOS?) Bl SECU AIMBOT Im OE 2) EOS REMI Kemernens, DIO AEMNT, BION GAR OLS. ABLI BYTE, BIRPBAMDADTO DN, HMLOLO AMES SLM, BAMOKSX. HOBAUAMN CHS. COMME Pearls, BRM Ste, SOME. MIE 7 OEM, PIER Y 9 OEE Herm > BS, BD LOMTY a REKDRZY a Th. HERB EACH AU MLIE eo5, LimL, ARPS DIMM 2 DAERAH. RYE 9 PLLC. BK. AOEERLOMISE, & RY Y 9 DVL MABRY Ya > SEN CMD, LEAL ROE HIS LI, bE EE Ch Taio y a5 c On the A String ABET DE iat Gsharp Gdousharp A tat A BHO LORE GRET by lle On the A String | At EC yy a ME MOREE SAROTE LE COME bay, b 39. 40 Exercises between the VI. and VII. P RCDRATRYY 9 RIES together with all the preceding Positions. RYY ay VE MORIOW b b, be b, " ill i yt by b ‘an 2. A flat Major Scale | 3 4 Seif Rt e 2 2 2 1I¢ lie ip Ue Ip 6 p ¢ 4I The VII. Position ties one whole tone higher than the VI, Position, or one-balf tone yea mms higher than the preceding Intermediate Position Hep sr due Asin the preceding Position the first, second and third fingeris aiioy cid, Git -cabL, employed upon the G string and only the firstand second finger | 4. DYRRUSAM Ct. S-MLE ZEIT forthe Dand A string. as the thied finger isnot ofsufficientength | Ebene, B12 MA to produce the notes correctly. The octave of the open string, | 9 <7, it which could also be taken asa harmonic in this Position. mustbe | 939 gist 2) pressed against the finger-board inthisinstance by thefirstfinges, | eon yy if 9s in order that the second and third fingers may produce their inc en ieee respective intervals clearly and with precision &B) Rey aN vVIEY ARE CIEL. ATSB 2. Sao pie L LIE kat? ait, BOM IMO EMELSENAE SE FETS CONES ree tee A aoe ainia, mies ‘The following intervals occur in this Position On the G String |G E-e On the D String (On the A String eat Dit.Ee AMT bbe het”, #2 1b pbanes or a. b. * ey pe suey Eflst Cdouble sharp Dshurp A Blt G dausharp A sharp T Ait AF doublesiarp Gaiarp Gdoublesharp —-D Exercises on the Separate Strings. BAK COME On the G String Gat tz «ele te & te be bate 2 vir On the D String | D#ET On the A String | A¥#E-< Vil . a Exercises in the VII. Position SAO ETO on three Strings. RY a MOM 1 2. yay LORETO ay MOS Exercises in the VII. Position in connection with all the preceding Positions. rs ‘A Major Scale | 4 athe Ip IIe IIb oe 2 ‘To complete the list ofall the Major Scales the student needs ‘nly three more which, if subjected to an enharmonic change, hhave already been played; namely the C sharp Major scale which 's played with the same fingeringas the Dflat Major, Gflat Major like F sharp Major. and C flat Major like B Major. es & STORAMOWEBET DI, FRAMABHOR LI ANE, FEMS LOD BRD SIEMMT ABD ST bb. BORMORRL, RLRORRE CAM TH DE EAE RAE RRM ORME ME HS, 4B CC sharp Major Seale | #7 sSJ6 v6 Exercise weet Far tige G flat Major Scale | b Seal FH Exercise eet ata C flat Major Scale | 3/3287 Exercise ae 45 Parti IL Minor Scale and Exercises. Wild oon sigle: fo6 A Minor 3 aletos pe? 5 SE eos Ai oT e rio E Minor eit Exercise wee 46 B Minor oa Exercise! ae F sharp Minor Kia Exercise ee 7 C sharp Minor avs Exercise et D Minor =a Exercise ae oad oat tees tite Tetdae Ce rr 48 Exercise He C Minor iui an) Exercise aa F Minor “Ria Exercise oe 49 Enharmonic Minor Scales. SAMS LBM MO EAE B flat Minor Rok Exercise ae The A sharp Minor Scale i played withthe same fingering asthe B flat Minor Seale BA GAO NRHA. Ro MO AAT EM ei: £ oH S. Exercise ae \ Eflat Minor Ka Exercise ae sharp Minor is played like E flat Minor. QaKMe RRA EBL EF caENS. Exercise | ~ ee | A flat Minor BA Nei) Exercise we G sharp Minor is played like A flat Minor. Rh MK 4 KB EME EF iE. enfer2? Hote o . Thirds 308 Intervals and Exercises. FERRE es v ty vt 53 54 wet Exercises. | ‘i 56 Fourths. aie 37 58 Exercise in Fourths. voy 59 Fitths Exercise in Fifths. SORT 61 Sixths, 1 must be observed that wit all intervals played across three sting the loner ote mus be taken withthe Up Dove. Ivey tempos Ge ATOOW ATL, 3 koe EMU hese Biles N Wa resmnuren 20D I WELLE (eee Somes Ra LAP coe 68 Exercise in Sixths. SILOM he» Ty Sevenths. | Tie 65 66 Exercise in Sevenths. 477-9 ee 67 Exercise in Octaves. ADI-VORE 68 Part II. Explanatory Remarks as to the most important signs of expression. [Asa rule every tone is sustained exactly as long as the value of| the note alls for. However, the necessity to deviate from this ule arises in such eases where the original value of a note is increasced for decreased through certain signs of expression. The most {Important of these signs fora string instrument player, are such as indicated: Staccato, Legato, and Portamento or Appogiaro Bowing. Staccato ‘means “detached” and indicates that the notes are to be played shorter than their original value calls for. Staccato is usually indicated by dots, of if the notes are to be played exceedingly In the short, by small, slid, vertical wedges above the notes. latter case it s designated as Staccatissimo. Manner of indicating the Staccato: RP hb) Manner of indicating the Staccatissimo: RIAN 7 YEORE Execution: CS Legato ‘means “tied” and indicates thatthe notes ae to played for their full value and in such a sustained manner, that each note is connected with the next following one as closely as possible. In ‘addition to the word Legaro itself, thisstyle of bowing is indicated by aslur-—~. connecting or embracing the notes to be ted. #5 TL Web WERE POAC SINT } TAR MBSE: Lee COMM HARON EAR es COREY LL Lieb, Sania LPs 5 UHH EO L <. LODHI L, AS AMWAME DLE EELY. bE Oe HLS AALS, WREPERICE TEN GMI ELDIL APIA b. UAB, MMI AY ELLT Rm be HAY IREWARDS, APvA—b rap yi tes Ess [GEO AWE INCHES, 29 92 FIR SCHEIN. fey PELE HED TPE 2 HAPS tL, REMC HRN SINNS, AI NF 4 7 RAPE na Execution: va—bk vara. jake, AATEC, LORIN E FECA Let ACOH S L ORL EHEALY D ETS TTAS AL Be VA ROMY WE LC. LOL 7 PHA, 27 STIRS, HIS CMM LC MS ES jorembracingthe notes otstied. | y seins. Notes marked with sch stur—~aealys played a RRo tea CRANE, REC forinstance: mV DA by Beefy. hee one a ee oy = T ‘An exception may be made in the ease ofa longer forte passage: here itis necessary to change the bow in order to preserve the strength of the passage; however, this must be donein sucha way that the passage will not be disconnected too obviously. Portamento or Appogiato means “sustained” and designates a combination of Staccato and ‘Legato bowing. Theindication consist of litle lines placed above ‘the notes, the lines being connected by a slur. While such notes, supplied with Appogiato signs are played in a detached manner, they must nevertheless be produced very softly and played in one bow. Kin, FAME Oy e— DOMED. COME. EHYONMS ERT Stk, MABALHTH S. LOAM Ds LeHE, EO RAVI, EXE SREE TRS OMe HVe ry baneT oye be Dao, MBL Ts LOINC, AF 77= BEL BUDTHS. KR. Wo kORA 7B TERRE aE BIELOANS IRL, AP — OMA AMMA NS» cr, LORS ET AY ea POURS TORT, ARIE Kein. LAL CMB bib DT, FF 7 Y RET WRENS Varieties of Bowing. tReak—4 77 2 Efeer ettee, The above example is to be practiced with the following varieties | hiwo[lct, FRMIRA G1 e 7ek chee. of bowing, | Vi WR very broad 25, FR EW, (With the Tip of the Bow.) (RO) s 70 Triplet — Bowings. | - oer eee 1 In case of dotted passages or where the individual dots are replaced by pauses, as shown in the fllowingexamplesa, b, ¢,d.e the to first notes must invariably be played with the Down and the third with the Up-stroke; this must be specially observed and, taken heed of in quick tempos. EJ SID a be & CENSLS MC Zi US CHAS NL. 3H OTTTE PORE eEoUL. ae, Dao P 1 ree = : Butincase ofsucha passage like the following the ist note must LIL, Ory ROL CIE, MADBAELEFHBC, be played with the Down; and the two following ones with the | 2 o0%f¥t2.EUS CHRIS. Up-Bow: al or this: ~ or this: = or this: ~ as Exercises. Special division of the bow is necessary for particular passages ~ inorder to execute them clearly and with exact rhythm. In order toprovidethe student witha guide in thisdirection, the following, examples, with carefully marked bowings, have been added. obey mn Van CHB. PAMCH LT. OA THEIR KH 2 THOS: B 7 .f 7 1 ¢ Inslow tempo and “forte” the above exercise would be played | EROWAMIS, FROA— Ay TEE. WoC DLEF LRT, with the following bowing. DIT aT s CHL mony od A nm YR Yn vm iy v etc, Slowly | ><) noi nov nee DD vee. Inquick tempoand”piano" theaboveexercise would be played | HCOWATMLE FiO 427129. BOTY AS, 9 withthe following bowing, rerys cm, v na nh ° n_fov nny Vin nyAy 5s. Ey P n sit s impossible to describe the exact bowing of every passage \weare apt to meet, the student will do well to remember that he is. to begin with the Down Bow when 1. a passage starts with the full bar and 2. when one or more notes are slurred together and occur fon the first beat or on any one of the heavy beats ofa bar. However the Up bear of a bar, ifit is made up of one or several detached notes of uneven number, is always played with the Up Bow; this is also done in bars in which the notes will bring about, ‘an uneven number of bowings. Incase of longer and uniform passages the heavy bears ofa bar are always played with the Down and the light ones with the Up ow ‘As already observed in the case of Sixhs an exception must be ‘made in such passages, which are played across two strings in 4uick tempo; in such cases itis absolutely necessary to use the opposite bowing. BED RO YISI THEME AY TERRY BS EAT WCB, £2 CMH, ROLL EE CRMLTRCNETHS. Te BBS) EO DE, MBO SLR ENING SE Cesnees, RZ, 2. 19, RRUERILLOW MA, 3129 — Cit BH, ENAOROM LBA, 6 L< RRIBA I 5 kon To BMI, FOS COTS Lak, BaDBOMIABM, 19. OL C(O WR BFF YE RIC ES THIRST BOL Bowen, 2hBar 7k NE BE. ROMO packs cues no 0 FTE GROW SAORI MOT REY, BRO EM 9 TMA S fy LT CHEM ENZINUTE HO. Bb, SOE AMEE, RDA A 7 7 ORI NM 6 BoE zene. Tremolo heed area. SEE I THANS isa quivering and rapid movement upon one and the same tone, and is produced by repeating the note with greatest speed for its entire time value Tremolo-bowing sindicated by the abbreviated word trem. or by eee the triple-crossed stems of the notes, a shown below The Tremolo is executed with the middle of the bow, and the movement must be brought about solely through the wrist. | Manner of Writing Execution Pizzicato {abbreviated pizs.) means, that instead of setting the stings into Vibration with the bow, they should be plucked by a finger ofthe right hand, In this case the bow is allowed to hang in a downward direction, ~ being held by the fourth and litle finger (inside the nut) and while the thumb is placed at the edge ofthe middle ofthe finger-board, the fore and middle fingers are held above the strings a ~ employed for the pizzicaro — The strings are picked inthe direction from left to right, In piano and mezzoforte passages, either the fore or middle finger may be ~ used; but for forte passages both are employed, the right hand being moved nearer to thesaddle whereever the forceand strength of the forte isto be increased For pizzicato passages in quick tempo, the fore and middle finger \ should beemployed alternately. With the term “colarco"the how is again brought into use ¥18—) 2. TOR 8%. SULA Hi seco One «i ot) Ey y1a—b SOFA pies) (a, 43 eNSVS tate DBM TE EAMETS, ta 2 fete ine OSE A LE u RB DININ) ARE ECO ost Ba 3. URL IMRLE, aa ACMI eAaSET? aD ELT. IF ANF OME MEE MEMS. DE LBD HEATET, BL oa WH TELAT B "cod arco" crn se A SRB DEI, MALE : Exercises. v en! 2 e Z pape totitter st < ere HEE Peed cores 80 Col Legno® ayes 1 Baba e CR eat. brs Tea, omowe MOM ‘means tha instead of playing with the bir, the strings should be struck with the stick of the bow; in doing so the right hand, xe bow, must be slightly turned towards the player. Col arco” indicates the usual manner of playing again, Exercise. | aoe arco sol Tegno ol arco ‘ol egno col arco Ponticello RF F208 For theterm “ponticello” or “sul ponticelloindicating thatthe cells (RYT 4 FeO) «B22 “sul ponte” 7H » riginalsound ofthe instrument should echanged.theplayingis | 77 (F< 00) O18 nie RUA A TCLS done with light bowing near to the bridge LEE), BAKO N BARES EONS. | Nature!’ (+ 2 VV), 2412 “som naturel (Y vs FH avn) Hajctl= Sea sarire®tliciel tn sata sound of we |g. epEeORET: ERASE ERT Exercise. | fe Ponticello naturel sul ponticetio son naturel 81 ‘Chromatic Scales. | These are to be practiced a ist detached and in slow tempo. later on sured and in guiker tempo, | mia >< BE, EOF aMAI— C Major Se) F Major Niel B flat Major okie E flat Major hw A flat Major BA D flat Major Som G flat Major zh ea 82 ‘A Minor 4 ih 83 D Minor = fii G Minor sian Exercise in all the Major and Minor Keys. | BTORA EMO 85 86 Staccato Exercises. When a number of detached (staccato) notes are played in one bow, the latter must be firmly set upon the strings, and the short strokes must be executed only with the wrist. The following ‘examples should be practiced in slow tempol first, and gradually with inercased speed. IZ) AP Ta big y eanecai Ue pees cr Sorte ey 88 The Jumping Bow. With this style of bowing, the bow leaves the string for a moment between each note. In order to avoid any roughness of tone, the playing should be done only with the wrist and with the middle part of the bow, which, in falling slightly touches the sting. Exercises. Gas LOWRIE EKA Y TCL, BUANTORIC A, th BEDI SEDEI ENE ABH fan ee A Lees Shore 8 ie ae el The following exercise isto be practiced slowly and with short detached strokes at first; then gradually quicker and with a jumping bow. &. 2 OM nit emits k 9a wanetnreeh. WHI 0, La bWr ey .OmErCH Uta et TR 89 Part IV. ‘The Grace Notes The long and short Appoggiatura, the Double Grace Note, the Gruppetto, the After-Beat, the Turn or Mordent, the Inverted Mordent and the Trill. 1.) The Single Grace Note or Appoggiatura isindicated byasmall note Ifts stem is not crossed bya lite fine it claims half the time-value of the following principal note. is slurred to the latter in one bow and is named “long” Grace Note or ‘Appoggiatura, for instance: Manner of Writing: ik Execution: mh s Ifthe Grace Note is placed before a dotted note, it claims two: thirds of the time-valle ofthe latte. for instance: 4, Manner of Writing: Execution: ik . ? “The little Grace Noteis played short and quickly and tied to the next note, if its stem is crossed by a litte line: in this case itis named “short” Grace Note or Appoggiatura, for instance: 2 4 Manner of Writings eae Execution: E wit 2.) The Double-Grace Note differs from the single one in-so-far that, as its name implies, it Consists of two notes. However, as the principal note must be played upon an exact part of the bar, the preceding note or pause oosesas much of its own time-value as the execution of the grace notes necessitates. Manner of Writing: A SB IV ib eae Seo ATE, oR ATI, Por, ENF 1) Hee ROR We RIOR LST CL, ATF CH RE fe RE EMT TIPRUE, US (BFE THAW, “SO 2I—THORABA, Mery BRE FEMS. RRB 7 GL, RRA ROMS LIME, HR 3529 NMS. HHT istectat BLE CRE OMICS CARMAN TH, SU WC HRC. EL CRONA NOS CRMENS, 2OEIM A Mei SAGARA LSD ERE SOROS 2) = meee we, £O RATT EE <, Rep en ei ENS. LL SORES UR EH BHR, TOPBNDE MEMO CHESNEY REL EEO TH oC, RMT OTN Le. TORE S US SIRI NLT EAE “a Trae ol 3.) The Gruppetto 3) Fusyb 1 more than two Grace Notes precede a note, the ornament is designated as a "Gruppetto.” For instance BL. 298986 ORMEA COMMER L TMS WEE Tes by LEA AS, ARMED om. Im, t Manner of Writing: Execution: Wik PUT ESTpyrros Exe RRL Zr HOMER 8,4 ise in Double Grace Notes and Gruppettos. Manner of Writing: Execution: wit 92 4.) The After-Beat. ‘One or more Grace Notes may follow the_principal note, the latter loosing as much ofits time-value, as the execution of the After-Beat necessitates. AS with the preceding Grace Note, the Ater-Beat is also tied to the principal note, for instance: Manner of Writing Execution: a Kil 5.) The Turn ‘consists of one principal note and two melodic auxiliary notes of Which one is pluced one step before and higher, and the other one step afterand lower, than the principal note. But the opposite case may occur, namely: thatthe first auxiliary note may be lowerand the second higher, the different execution being indicated by a special sign. the Turn isto begin with the Upper Auxiliary note itsexecution is designated by thesign ea. and knownasa"Tum from Above.” If it begins with the Lower Auxiliary note it is designated by thesign 20 and knownasa“Turn from Below.” ‘As shown inthe following examples the Tum may be executed in various’ ways, always remembering that every Turn must be played upon one stringand in one bow. Thesimple Turnis made ‘up of one principal note, preceded by three Grace Notes, the latter beginning either with the higher or lower auxiliary tone, for instance: Manner of indicating the Turn from above: Lonny rote Execution: ie 4) ae far aA wm 5) 9 F-vid, Loo kha we POOR MOMINT. 9891 ERS MERAT SL ABORE, F913, BETS LAA 22MIN, LOLRMOMS LBS, Tebb ATIC MELCHER, Ro Lai SS RAMAN AMES Hh RDO THB. LL, 9 — > ELI MMIBE Eo CHD E 31, ZOWRIABE CREAN, ThesOIR=71 ELTMB NCS. BL, PY EFFMMME > THOSE RL. LOT MiZOOME CRASH, FOEOI—s ELTMANTHS. HL FORA ED, F— ithe aR Eo THRE, Eh VRORET. HC Eo TMS SE ERE TEC. B OF mL LODERSAME, HERAT ELBERT HM, BVH De fb CM ALS SOOM EE CORES wom Manner of indicating the Turn from below: Kinin 2 Oni Execution: Turns with Accidentals. Incase the upper or lower auxiliary tone is to be raised oF lowered by anaceldenta, the respective signs are placed above or below the sign ofthe Turn, for instance Turn Sign and Accidental as written for Raising the Lower Auxiliary Tone. : Manner of Writing: wee Execution: Manner of Writing: (| Execution: eS 71 Turn Sign and Accidental as written for both Auxiliary Tones. b b 2 t Manner of Writing: set Execution: xin rec Turns between the Notes. Ifa Turn s placed between two Principal notes itis played as Jong as possible after the frst and shortly before the entrance of the second note, for instance: Manner of Writing: ([5¥E = +. ree Execution: ik 2 me prot 93 MNSES eA ORI LRP MINE, LORE HPAL aME, AOA, FAME ERs ORO 9 -PRERU BES ~ 2 e SS er LAMBS ERD SLO CMO NE + YRERORGS & : + é Trt LAROFAMMBO ROR MO F-PREROMBIES é 2 Se Sino 2IDRFOMOT — VBS P—PPLIOES AROMA IE, ROTOR ORI, TRUE, ELTLOMOWMEASMIA, EITC WaT. 94 an additional grace note precedes the sign of the Turn, on the Pose same degree as the principal note for instance: oa) ERS MreM its played in this case, as follows. OE FTES. es oe Ithesign of the Turn followsa dotted note. itis played shortly | &L. 7—HikHatthskintRonke= 8 Zcibfe, fhetonbt ent A before the Dot and in such a way that the last note ofthe Turns | (MLC. ELTF—>O>HRN OWIL, RECN MRAZ sustained forthe entire time-valve of the Dot, fr instance 2. Gini Manner of Writing: Execution: wi : SPOS IT, REAR IC the principal Note of the Turn is followed by two Dots: the execution is a follows, Exercise with Turns. y-vOmR Slowly act . ; a Manner of Writing: Execution’ aie Tote Tere Tae 6.) The Mordent. ‘The Mordent begins with its principal note, adds a note on the neighboring higher of lower step and returns immediately 0 its principal note. Two kinds of signs are used for this group of grace notes: 4¥ for the one beginning with the upper auxiliary tone and A¥ for the one beginning with the lower. In case of accidentals the respective sign is placed above the Mordent sign The execution of the Mordent is always upon one string and in ‘one bow 6) Enrvb ENPY bE, ZOE AMM AMEN PUREE bd it F HREML MOLD LAS MEMS, 20OMMO ITH BOOTH —7AMM SILA saws EITM AVS KM CMM MB. REBAR ML ENT BIL LI EMPL OWE, BE TAOLEC, Leb CH DIL Manner of indicating the Mordent with the upper Auxiliary Tone. LAMBDA EAS EAT hen Pere Execution, Wie SSS irre Indication with the Lower Auxiliary Tone. PMID EAE i ay aw Execution, wie ST ? Indication with Accidentals. ae Fai 95 96 Exercises for the Mordent. 7.) The Trill, Trilling indicates the quick repetition ofa principal mote with its next-higher neighboring note, for the entire time-value of the principal note. Itisindieated by thesign . The Trill ean be executed either with a whole or hal-tone, according to the requirements of any particular Key Asarule the Trillis commenced upon the principal note,and if not otherwise indicated the Afier-Beat is added after the lat til This After-Beat is usually indicated by two small notes, the first fone of which is one step lower than the principal note and the second one being the principal note itself. Short Trills, with their After-Beats, are played in one bow and with longer ones the bow should be changed as litle as possible Trills of a Whole Tone. To assure an even and clear execution, the tills should be practiced very stowly at first Manner of Writing: ia Execution: wi ea 7 1) by KYM, ROWE ENERMETS LAE T, ERS ATO OMT, MUIR EO KMF SSE ERT. THE tr 0 THREE. FIM, LAUT OMRO TRISH T, EW ERED LOOT NCHRETS 3. TIME LT, RULERS ARNE oben, b Latdeartetrae PATH AOR bY ORCAF MS ILS. LOMRAT A ROA WHE 9 THOR, BLS ATELY RLS DHEA SATTURTAS. RATIENEA Me ki) EF BEN, MORN THERM MOWLDMTDNS. RE ROMBT Sb Ye CURL EATS DI, FULL, HIRED 9 C 9 Lak Latte eee, Trills of a Half Tone. PEROT Bb Ye 98 o Trills beginning with the Upper Tone. a LBC ED MAT S bY Exercises for the Trill. boy 99, oe a7 ‘A number of trill following in close succession are termed a | ae. THE 908 occur on one staff, or when they are placed upon two statis | (iit a zone 4, HBWiateEIe® vCNBIC SEI onnected by a bracket, that both parts must be played by the | os mewiit. cox} eibe oko 4) Manone St Double asses, nsuch cases the followingtermsareemployed: | ong kitts <28 8A. Ho Divisi, Bassi divisi or Bisse getheilt. 7 - — io Allegro To QBS sea J TT 4 Basi divisi — KS] =—>-7 PP Allegro maestoso ein a eee patio me lee Bases divided b. Bisse getheilt, n ete. 112 In playing excerpts of important orchestral and solo passags for Double Bass, the student should not only abscrve technical | 2 difficulties, bt also give careful attention to the dynamics, ie. the expressionand degree of power to be applied toa note ora group of notes, The importance ofthis has long been underestimated by young Bass players, The bowings and the true value of the notes | etn ARAL 2 SIT BRE PM AAR WHIT BIRR EMAUMLIT Be BLL, PFI 8 tb gE ici DORAL, Jez 2 ee CHM L, APAUTRILED A Led, 2M L < honey Ind ests must lo be gen the sume altention, | 7 | TAMAS ene F Pepe TRE E—T TRY) ‘The Marriage of Figaro | ae (Wolfgang Amadeus Morar) | ims From the Overture. Presto neat v 2 a Allegro con brio and Finale PUP aay Tt ea from Symphony No. 3 (Eroica) HG 3 KS EY) (Ludwig van Beethoven) (Un PFE ETT yon PZ) ‘Allegro eon brio (= 60) 1B FINALE #ih # be f Allegro molto (J=76) 14 Fr = ¥ ee, ag { P —— Presto )= 116) Andante con moto and Allegro from Symphony No. 5 (Ludwig van Beethoven) Andante con moto (2-92) nf) PUY LF ay-B—bEPL Ia SORE SEY (WA bY Pep ee hey) us 16 ; Gad tine») = (amuse?) Allegro (d= 88) oi ae 117 Leonore Overture No. 3 from the Opera “Fidelio (Ludwig van Beethoven) F PP sempre stave. oe. DGD Allegro us a 5 —— bE — ‘erese. poco a poco ey eee tH 4 119 Euryanthe Overture HAY TF IV Maria von Weber) NNN PD gee) Aller 4 ‘Moderato, Soli 120 Roman Carnival Overture 2 IN SEF (Hector Berlioz) (27 bet x) Alllegro vivace St ie onre Paf poco erese, crete. ‘rese. molto Otello (Giuseppe Verdi) Bass Soli from Act 1V ‘Contrabassi soli con sordine soli Contrabassi a 4 Corde Poco pitt mosso (J =80) un poco mare, ‘Stace. . azo (Paty ethan aves o<—2ae wimenite< 2am pint, caan em molto accelerando of" 121 122 Rigoletto Yavek (Givseppe Verdi, eee nae & SNBEMIE, TeFODT TN ReFaDOR Act Hl, Duet for one Double Bass and one Cello, con sordino. Andante mosso Flying Dutchman (Richard Wagner) From the Overture Allegro con brio SREROATVIN Wah 9 123 124 The Bartered Bride SEIU (Friedrich Smetana) (yskye From the Overture Hee 9 Vivacissimo v a ¥ > As ne 6 _ DE ca ria —————— Son lexao my nv Sin mo S non legato Academic Festival Overture (Fohannes Brahms) Listes tempo, poco maeslosn en Seas AoE (NRA I~ LA) 125 126 Symphony No. 4, Op. 36 (Peter iych Tehaikovsky) ‘Moderato con anima 127 128 FINALE #tlll ‘Allegro con fuoco Symphony No. 6, Op. 74 (Pathétique) SR 8 6 A fen 74H) (Peter Myich Tehaikovsky) (ea beet 14 Fete B7RER) Allegro vivo peepee pease din. poet Ss Marche Slave, Op. 31 AOFM M6831 ras ipen ieee | neces v 3 Quintet (Franr Schubert, Op. 14) «thin PILE Aah Var. IIL SIV BAe Var.1V = tecrec DP —— p Tim. pp Jabberwocky * BARAD LRAT from “Through the Looking Glass." Op. 36 F (Dems Taylor) FuGcA 7-¥% Non troppo mosso, Tempo giusto ma aan v es Pe Se Aged ; ae sempre Pp ++) By pemision of, Facherand Bro, owns of the Cop, 9) PEMA J. 7 1 ye ALORS 2 Fe Part V. The Recitative. In accompanying the Recitative, the Double Bass player must 1.) follow the melody and the words of the singer; 2.) exeeute the bass notes ofthe respective chords clearly and with precision; 3.) not change the bow too often in sustained notes and 4.) Constantly watch the musical director. especially in figured passages. EXAMPLES. Extract from “The Creation” by Haydn. RAPHAEL, 77 721% a VOICE Es DOUBLE BASS, 77+ x—2I Im An PIANO eT? und die Er- de Fin = ater-niss war auf der fan ge Vil VEIFI—-7 LEP (ONT, 77m <—AKHIE, 1.) EON Siebert T, 2) HARDIE ME MLAGMIEE He L, 3.) ABATE ELTIBAT AMIRI S HL Cumitnges i) A RY OUR MAW ED OME PRBWT, Gott Him - mol dnd Er de, P waroh-ne Form und leer, Fii= che der Tiefe BL Geist Got - tes sehweb-te au der FIA che der Was ser lund Gott sprach. Es werde ~ oye v URIEL. und es ward Licht. Gott sah’ das Licht, dass es gut war, und Gott schied das Licht onder Fin-ster-niss a St Levan Recitativ. Andante PP _~ein wortevoler Brfutigam PP cresc. D crese db Jd ded J oye URIEL. In vollem Glanze steiget jetzt die SoBe strablend aut F cin Riese stoly und froh zu, ennen seine Baho, ft f 133 Pin Adagio PP vs tisem Gang und sant ~ tom Shimmer schlecht der Mond die sl”= Ie Nacht hin durch 4 Pili Adagio —_ ae St den ausgedehnten Himelstaum zie oh-ne Zahlder hellen Sterne Golds kiindigten den virten Tag, mit hiilischem G sine Macht aus-rafends 134 To complete my'explanatory remarks relative tothe Rectativ 1 will observe in particular, that this form of music s not only employed for singers, but also is often written for orchestral instruments as a solo. As an example, in Beethoven's Ninth Symphony the Recitativesare performed by the Cellosand Basses ‘while the remainder of the orchestra joins inthe accompaniment Asevery Double Bass playeris expected to know these particular Recitatives, | have thought it advisable to add them to this, method, as follows: Presto (2.= 96) DOUBLE BASS FTA Presto PLANO v er tf aa mie DB 9 se L D (Selon le caractére d'un Recitaif, mais a tempo) (295 TONER Loe Lo Lin Tempo: Brent: Buty eens MELT < Ky ot—r ak Dati 20m 135 Allegro ma non troppo ( ‘poco dime Adagio. a Vivace ‘Tempo T Alo \ Adagio cantabile. End of Book I. Aftercarefuland thorough study of Book lof my Double Bass ‘Method, the pupil is entirely prepared for Orchestral playing and in order to acquire the necessary practical routine, he should lose ‘no opportunity for ensemble or orchestral experience. Preparatory to proceeding to Book II ofthis Method, I would advise the pupil to study my 30 Eudes For the Acquisition of a Fine Tone and Rhythmic Surety (Carl Fischer 02941) very thoroughly. Franz Simandl ‘Tempo Allegro assai (d = 80) > Allegro assai (d= 80) ea ts|3d pibolee BLBORT BOr Ti AAR, BUR EERIRK, DoetReIM LT PULA, PREETA7 2b THRO DORR TINNED D, OSE CMARMLOMMERMT SRD, TTL TR ATARI COMREMET: AME LOWES CIE LORMAD 2 81S ONL LC PM RON RN EA EU RABE Se DMOMBM (0167 (7-9 ALOT9AD) SRIF S LIT TOR Commentary (Footnotes) Part I. Page The sac encod 10 agg aon sythms forthe Bowing MNS Sm mecttall bongehinc prin oerstioctene Facets nih. speed a rn of he bow you pate, EB Many orchestral double has parts ofthe lt 19th entry and expec te 20th century rere the we cfu potion”, The stant couraged xplre the entre rage ofthe instruct through seas as soem ts fesble without dsidingtemtrumentintoan orchestra range and tse anes Page Hien bisinrodcedta ert te postin le Khai axe HiT tacteris encouraged nina the topo (pos tsinga metronome ‘ipa eaoun of owt eed eh extn ho Page 10 beter to Prete tthe 184 Edition Comment 2 Page tt [hw nenplayinganopensring move the entire ft hand tothe adjacent string prepare forthe following note When plying the low “G" on the “E ring, the pen “G" should vibrate sympa Pare 12 Tb Trestuden shoud te aware ofthe tno-meanire quence in ere $a the Foursmeasure sequence in Exerc 8 Pose 3 Hh wen siting rom fst age to fist ng, the tdet should sid onthe first ing ana keep the tng ial pressed, Fingers 2, Sand 4 should vera lose othe fingerboard Page 14 DibReter toe Pretace—Comment 137 ik B® CEE) oF Lib 6a Bb fences, 600 7 Hho rabIcoLe, We eM, TABEIETTNS, DON EMT MILL, HHI Le CON Hae at, Leoneoncinane tain a oennUrte ses, 7H sneer. women srr 2rsor re DUCE, IRIE ZS 2) AMER RES. FOL Porerenrerverarnenin rats Che PMG enema eT heS, sa Berio bemar ema, ermine nwewsns, on Raat (8 Sts bay maiesveMer) Feat nee EOC COURT OfeM= artetene. baat oH UNBEXOD Ie oH, mit Bi ntcccosimonit, ko noisinrnis, PEE RCMI LE tevioases =e. BRearcams hay mime, RCH RES. a8 Ethrane coca ssmss, wnsenucienmcto Midas oH 9 act Beimesw monic cena, wemcnserad. ® ine 234 Psa, 2, BS, ManmainnaR cise ee. ast Ws. woaesm, 138 Page 18 [co ine ar hy ling gra on he" tig ier payne“ th bm [Breparee"C§by placing te fit ings on the"A"sring efor the “Cis layed with he bow: Page 16 [Blan ateracebowing iting or recovering with modown bows) might bese wa TD ps tid l,bensmer pasate 1 ate mal cous A Idy Pare 9 BBrcretec to hep te sting ly pred when siting om atacen sings (D bro Eb) — Bei the sit on the fourth ee Se en sahe A" sting tl oson a a hese ine mo. the it ington hee ng 0"E9™ I sip om acer strings (Ab 1 GD )— Begin he it on he i ge sf Stee on the“ sng of ponton ana these ine ove finer Sand #ontbeeD? ing 10°03" ese20 [Bd Rememter proportion the how eet Page 2. [compare the intonation ofthese noes in octane or i unison with the sppropte open sing Page 22 ven playing te yt in measures 3and4 you may wsea"Z" bowing. This Ineanh te de sligily more s(t ess weigh onthe ist down bow and [esstow om he second and third quarter notes in ease 3a order to have Soicen bow to play the al pote im measure ae. Bie copemaion sy Dy ay eater eset oe AP PIPE EP msowrorane ow and pce the bow om she string in he mide of the bow ey play the next quer note by. Another way of ompenitng would be ot ifthe bom, but to use ‘Autrbow pond nth ies weigh onthe fist p Bow afte thee note Dring the quarter est, move the bow in a dommward direction above the ‘ing plac onthe singin the idle forthe" ny ny yn AL Sd dd le BB Remember 10 proportion he bow. 155 memeee, CTH, emo Rh, (Diy be. 3. BUMERCSECEY Thy OMBETE. ram beomimegy © fs SOME, ene +8. 268 KAP rot (HRTEM, AiO KIC SHE aT] dae Bd bd ld omoree, ponctnnan. Id smecoss a sont Bsn [Dear sumcose ore ieiena &, wamiere oan Be TAMbs HEB 7 ADE 9 ZN BHS EO, EDM, HBTS RRR, SEBETS. aT RUMCONEA (HMA) UA. BUM ES TRA Hy the "Olds Ley 92 AOA 4 FEE CH, RINE FDR ba BS, BAMCES REG, NEUES. ERC HLTH = EICIEDT SS mast ShAOHOD, WMoMMs eRe, 47 I—7EKBART einen ns BB vs, wenwiioy eeu eREG. 2m ORAZ 7eH MBS EOESS, Tbh, BAMA PNT ERIE CHC A DE, BIABDOB OHNE (RC) bTHES HORII EM Te ikea 2, HONDA AATEML TB, LYSE ROSEMES beaura. ait Bona “oY DoWoy areouunemnous PPP IPE PE wor amemarone orn: RLEHONAMeEMREMAEE yo. vecansecnt. Rinne minke, searecMS Hz oT. H4 CmIEN EE Poi RSMIND ELE, HOME, DORMS. inate, uate TS PATTI TES, LORE De Mts OME CT. FSM ny ny myny ARTI om Bowacoormaract. eC w Page 26. i) Aterateingerng eter to Pretsce—Comment 8) 1B Aterate ngring (ler to Prelace—Commest 1) Page 27 Bits ne fours postion on mos bassethe ham touches the base of te nck of Insroment theeby acing as aa nealing this poston (rpeally afhera ator sen), i cect he intonation ofthese notesin octaves with the appropiate open sting Page 28 Bi) Remember the same principles of siting Bemeen adjacent sting at expel on pase Page rere ecentig ging: Sno he oth Gage on te i ate of Page 2. aerate bowing nyny 4 ITT ie Hd Atenas ngsing * Student may ako bepn cach mwo-measre sequence withthe furth Finger. [Remember that bow compensations necessary after he dotted quarter note Refer to page 2 for an explanation, Page 3 [BpAternate bowing Eemesoes 5 Vonyay 4) ITT) tee +] Do nes, BAternateowinss yy seanrstont2 APP PP IP EP lle 4 wane P 139 a0 By amare: oexsene sm Bp xmansn: orxmesm CMR OE» POMERICMS £98 QIRERKKADRS) =OeIE 2 ERD est AP WcwH Le, MRT SHLs Loom emeMMstErese, sunt ED rasoamaost : eomomnon demamone. aa Broan 4 PDT Ie Bamznen cham ens. Eitisonnoace, somormeenomens, ntoumes a sant Bee yon Bete roan Birney Ba, waa: 4 nw: Page 36 veered byahall roi, touch he ere pes BB te presed "Gi posibty sed more often when he rote step from above or blow. When playing 2 Seer othe pitch. Then, he note ofan adjacent foul bein he corest placa in ane Page (BD Aso practice pressing he“ Pope BD Aeros doings Misvo ts ghaye ACLOre Chiceere + Ire ane eet Page 9. I wits ne advance in tecnica wel asthe wide we of chrmestel stings MOR Se itocrssings should be learned in ths postion and throu the TRttumen. Refer tothe ingeing chat alte begining ofthe Book and kara ithe notes inthis postion and VII Postion. 1 consul the photo chat of Fredrick Zimmermann atthe besoing ofthe ‘Sook forthe laste of het hand in seventh postion which sii fo {hs poliony Many bases now prefer o place te thumb on o above he Pima aor whl tepelom heist ing, nhs postionand oto the ‘Shae othe ingerboard as pte. Paget. BB Aternate bowings: A wore? 48°F Manes 4 BP t ELF Ip Pee POP bie swe ABEEE REF be suoms ABR PRP Bide —s a pate evar co “All notes on the D, A and E strings should be WD Anernate bowing: B xy roe v CHEAP EPIBEEPP + te SEDER? PIER EPP o yo« B x42 7080 Ail SORRELL. BN Goeitees, MIME WPALL WRI ENT, By UCUEmER (EEC LAU. at @ x-1o 7080 sven: 48°F swim: 4 BP vo 2m BD vcomneen, pi, Aw, EMnAmhcsOseconerns DW xteroan Part II. Paes THe students as eneoraged to practice the emoni form o each minor ‘ale thro thi section "A" Harmonie Minor 3 Eh Aternate owns wen 4) QUT vans AP OP FA EB Aiternate bowing Th Aternate owing BB Attrnate bowing: ae woe ABP TF Ble Pore 3. Eh Avert ways to pracic hed 141 Lib eon Bete ro8n bo sormn: 4OF f ate sant Bh fomomnonno sins i Lisen othe fourspeanure sequenee beginning in meas 5, DA two-mensure quence predominates this execs Page 56 Eh Four-mensure sequence. [HD Maina good ft hand postion when playing fourth the early stags of ‘Mody, Laer you may wo press both stings simulans. ssi Bh ss iauncers canner omuaticuemsse. MIRON CHS. som Bi tasceonnani BD omnes aioimmicml cit, TONAL CRO WioienMe nS 222 ETE. 142 Wh bec aterate exereses smart thos suggested for thirds on page In he ‘exercise below press bath stings simultaneously and late carefully tothe Intonation of te Pevect or Diminished Sth Fy an yam Page 2. BB tisbowingsecommended, but sists seventh ant octaves shoul ako be acted with the oppose Bowing (mV) Pope BW Preparaiory exercise: Practice siting only on the ascending loner noe DB Preprsor exer Practice siting only om he descending higher note: Part III. Pose HB Aso snown asthe “portato” *pasland” or “our” bowing. Page, Bbissuegies nat ne Doing auton be praca witht wb Major sel acedlg an dedi anh apps fe above ce ‘bothestudet shoul laethe ade tRooupi ning hos pr ‘Syncing te bowing aration rage Pcie ee bvig sins sna manner ened on pr Fs sna ees on healing paps areeumplsf hooker “Inte” bowie ere nr wy thd "aT ‘Youre shoal xin in dew ath boning cin or Sith exampi The thm may be paca at on oe pc ‘peated pices ofascle.Thebowingarscultion shoud be kare before ‘nore dif ecand ech eure Page 7. Eh Remember to if ot recover the bow as mars and to proportion the bow correct acosingt he thn pater nenr 115. Seta elc™ ast Wisi anoesscirons erin cu, winiceti STR 2 Bey zbMosniteMs: b. Fea SA, PSHE RE, MERI yam sont Dora rerroan, 6a. 1H tz 9—ooMT, WHO Hofer in) CoWmMTeSe. oui Braue ito LAR Wem Maser Aion FRR. wie BLE aut | eee ee es ow Btn tor trey ns act, mone Kae im: EY CERI NORE) MATL, OME HaLRRMTML SIRI 2 = LETTE. PML, Wa 42 7OMEEA BI, FP re OGM T TE oT, = OHM ERREMAL CoMINLEE ost Eben omer ru, onmoit ce nines mee EER Cricmon oben, wurraemms. cit accu mae 208 Take esCinbel) => 7OMCH 3, (emery BS teeyey iNew aT Shon. OMEMLC, LORIE Ys T—T ay wee Raa remove) secoueammaame Le LeaT eS J Teka, LEAMEAL IDM. LUCE Ne DROANC IDLE RotMHEMS. Beto 7e7mF baby glk wane POOL EMU DORMMMIR Ie POO NIBH ae rast Bheeimimascniray cancion t, eLeionne, wanes J AORMEML, ECUMAEBLE TET ES ©, Het SOUTH, MAM, FERRETS CE. age, Hi Hots a quarter nots ul valve and then if or recover the bow during the est Page 7. Bd See footnote on page 76, Bh Aettinesse bow mostbe meticuouty balance and proportioned toa oid Page 78 Berne tate espionage plo, thowghot ~ HB Retertofotnoteon pages. Remember pzsieato notes maybe played witha ‘ary of eg and yess to bomed pases BBD be caret ott et fat tempo ase rman — co ego eschlgen {ow aro) bose French — boi WD German — am Sine French — sure cheval Pose 86 Remember hat “sured staccato“ anon he string bowing. Be consistent ih he amount ad part of the bow wl in each exec Page I Remember hiss an ff she sing bowing (pissed i payed in ferent. ‘laces (usually between the frog and the mid othe bow) depending om he Aynamic. Your teacher should gv you specif Inston om temper the mount and par ofthe bow to he usd for exersss 3 y Pages. Dib» akernate fingering mould be 1 have the complete motive inthe same postion, inating the si e Part IV. Pose 96 YB ts ateratengeing woud be wo play the complete orden inthe same Destin a hen ei 143 16H Bh eco tna, commerscane, mominonen, ue Reem. UL CuMAKET SE mat Bi siiom Bh tamer ses pemraney BEL EO AL om, Humemooneeieoc: Demnismeaey rant Bh tremens, tee. mB BE Fes HOT CR, 7 ast BD miiowerem, ero c2—bomnmd, semmuttesre ERIE, Hees LUSCH LE NCHS. WD rexemcurecomuars, wom We oy yas yes Bo ited RAF abe US ng me (ote: aH) Da-za-var—7 wnae: oem t-za—ne evade GHD v6 DD (xo-onsanar oat a, monte 7caa Ee ATES E. AMMO CHIT BORE AE eRe Tete HURON EAE 7 REA) &, HNN EMO Die eH CRIS. EWEN MIELEC DML 82 S13. HARON, Hotml ~ 5 oT MER AMEN F Hon emany emaracnmnsn, sont Batre, sieer: ehtenay, MAE a PEROT RE Ant BV EB ert Roe av bebe ene: bankers, em x3 BE trios. ot saute. te = + Page 11 BSkitsmoothy and conserve amount ofbow wid when shitingso thatthe Sue will abt be acct or exagaratcd. Bh terrae ingssngs may be sd fom this point to teen ofthe exec. rst sagt Ei the fottowing bowings and articulations may also be practiced: aren __ 1500 ° aan “yay tay TOA sana sant om ney aay TA lan Page 121 horisinay, measure 1-6 worepayed by basis who had itruments wth four iti low Esuing) and tae ith eroments with thee stings joined Inmet, Present 'n performed bythe ene ass section throughout Retort the Rico score forthe oginal atcuations ofthis pangs. 4. dey t to Wisol-4 . Bini yaa mw EP ILEP LEP LE ie« Part V. ape 13. HA tow aerate bowing and fingerings have been aed below he sa Poe 135 ED Ir some sitions the scond eighth now (FH) is marked Eh isso eins tere iso etd Lucas Drew sonst Bh tiussnne, ever 7 ey burn, puiree miele Bh creer, eet Ba. roa mentions, MAOeL Eos em. MBA § vee amshareazames ro 1084 | Beran “45 ‘TD Wee atknRt eno t<—a tienen. 7eoM. Berm: 1 s45I0 ed tiuwidoly-t Waa, DHL anit & REE BV il Bhicsonsnat ere, suo Femi Ht cOd. NEW METHOD FoR THE DOUBLE BASS CENGLISH AND GERMAN). APPENDIX 1 a ‘facsimile ofthe Tite Page romancarker Cart FischeraditionofBook 1. | qublony— n+ 7 49 Mitglied der kk Hof lapel, es kk Hofopern Orchesters kk. Professor am Wlener Conservatorium. I. THEIL EP Ul. THEIL. Vorbereitung zum Orchesterspiele Vorbereitung zum Concertspiele Lverasa mit Clawerbegletung, IN LIEFERUNGEN | Tir das Wiener | IN LIEFERUNGEN |Gansratorim | Oo ZHI onary iterate 3 Sire SpeeArten tc 4 Veraringen ‘5 Recitative Bessprele APPENDIX 2 m2 A facsimile of the Title Page from an earlier German edition isting the] HM FC 7MMB LRU 2 BOUND ey EL stetions of Books I and 2 APPENDIX Vorwort. i den gegenvttgrolen Anfrdeangen an den Grob bo, Rene ead i Toa wird, wi bei len atrumenten ach ein Kent Sate sie bedeaende Techie onbedings net seni vorseegetat_ Ba ud ih dr Kent ‘ai ht bre ine gold Fagen ervorben haben, ween rine Stl cht “tn ww hc | {St der Hie der ering Technik su eraten | to de sich ier muhrvnden Avignon fr sei | Imireowt Grtge bite = kien ‘Dieses eater it nur durch ene forgeette (bang. vod ein etriges Selatan smigch der Keateubasst wird dadrch an Ton gevinnen, seine Kraft wd Avedaoer wird sich ahren snd eine Fingerertipkeit kann sich bis sor Virol 3 Koos dal dar Kontrabase sells Golo- und ment anftstn , date liege | angering gemig Baws vo, | Teh stale ee it ror Auipabe, in dicen | Werks can steals Anlelang som Ronse | spine fir den Koutras su geben dnl darn dan wichtign und acheerigenDasmen tion, elcher bin jet ooch prime behandl | wrorde reformieen, wm dulorh. das Soleil 2 sewcte ond wt erichern. Avber dimen were ich noch den Sehtler mit allen Flageleten, die 1 ungeahnten Efekten verbifn,bkanot machen tnd durch progresive Bagerbunges, Hive und sree Extn de volletalige Voreritng cum Konerupiele bite ‘Wet ier niedeeglegin Befabroages ‘el den gesshitsten Hrren Kollagen ene feond- liche Aufoabme finden ond den Untertichigang. wosentich erlichtern werden, 0 fable ich mich adurch fr die mauhevolle Arbeit hinldogich cntechtigh Der Verfassor. Preface. The claime male now-w-taye spon both Aheatre- and eoncert-orcherrat are erm ani naturally luo extend to the double-bac, upoe which intrument a marvellos techni i expected 4 an eeeatal condition. Not only must the duble-base-player command grent iger-derterity, if be in to do justice to hie art, but he mort progress withthe times and ep wp his technic, having once attained to the cwuire degnee of perfection, if he ia 12 maner the ever incrning tasks ast him, ‘This it ie only posible to do by continual practice and conscientious private tad, enabling Ye doublebaseplayer to imytove hie toue, ine ‘reas hin power and teenth and render hinwalf 1 viraoto om i itrument: forthe double-bee is being resorted to more and more ne « soe work, isto afford «aystomatic method of ioerue- tion in double-basrplaying for conosrtpurpoee, 1 ia my endeavour to reform the important and Aitealt thumb-position, — which hae hitherto ‘ben treated in an exceedingly primitive manuer, — sth a view to develop and faite eole-playing Tn dition, 1 purpose initiating the pupil inal the (arta) harmonic, enabling him to produce sffocts, hitherto undreamt of and preparing him in every way for concert-playing, by means of short and long exercins for the linge Should my tempts a inprovement based upon pertoeal expe fence meet with the ape proval of my callengues, and fcilitte the eystem ‘of inctruetion, I sball be amply compenated for the trouble’ and pain taken in writing thio vrork ‘The author AN acsimile ofthe Preface to an earlier German edition of Book 2, 183 IU FA PM 2 BOLD T 7 72 Ev 147 eS =<=== Cefes Edition. SS 6) Neueste Methode New Method | Contrabass-Spiels The Double-Bass FRANZ SIMANDL tion in Orchestral-playfig. PART i Advanced-Course for th Etudes and Ci I Verlag und Eigentum von i EKG) SL PF. SCHMIPT HEILBRONN AN. gl Neweste, Methode | [Nouvelle Methode| * New Method Contrabassspiees | Contrebasse Double Bass | Partie IL | Die hohe Schule. | ors superieur ® *) Advanced: Course * one unin rourguner ® e Contrebasse. + for the Double Bass. Coneert-Etaden, Coneert- wed Solo ali Etudes et Piéces de Concert , Etudes and Concert Pieces tontabass it Bayete des Pinot, |somtise wet ‘eomppemt du Pag | D-H ith Fauonta- Accompaniment Origa eee dar hodeoxlenCnrabase | par dos viruoses célbbres, by ominent Mastors and torn onder det Contras Spies | professeure ele. Teachers ofthe Doublo-Bass te, opi Seg te aay alee popuhre fr 3 Cons ee ae arta aa oe mit Pianoforte -Solostinme Pranofort-Begietung Pecan tad Verlag und Eigenthum C. F, SCHMIDT, HEILBRONN a. N. APPENDIX | ams A facsimile ofthe Tite Page from an cartier German edition listing the | WMD 4 REBMLMBOHAD? 77 v Sv ‘repertoire of Part I !