daily studies 4ths
DESCRIPTION
Daily Studies 4thsTRANSCRIPT
-
Daily Exercises for the Double Bass
Introduction Section 1 Basic Exercises 2 Exercise #1 String Crossings 3 Exercise #2 Long Tones 4 Exercise #3 Hanging (One Finger, Vomit, Flesh burn) 5 Exercise #4 Rotation in Shift and Pivot 6 Exercise #5 Double Stops
Section 2 Rotation, Limbering and Balance 7 "el Perro" 8 "el Burro" 9 "el Porko" 10 Limbering Exercises 12 Gradus Low 14 Gradus High 16 Knucklebuster #1 18 Knucklebuster #2 20 Knucklebuster #3
Section 3 Scale Studies 22 Scale Progressions 24 Area Code Scales 25 Rosin Lovers Special 26 Jobber's Scale Routine 28 Professional Scale Routine 30 Virtuoso's Scale Routine 33 Variations for Chord Studies and Arpeggios
-
Introduction Vibrato sounds best only when it occurs below the pitch and back up just to the pitch. When vibrato occurs sharp of the pitch there are no longer any parameters of any exact pitch and it resembles a wobble more than a musical tone. In order to achieve any discernable variation in pitch below the note the left hand has to be in a position to actually roll (or rock) flat of the note and it is for this reason that left hand technique should be thought of as trying to go in the same general up and down direction as the strings, and not coming at them on the right angle. Acceptance of this principal leads to many wonderful applications of the left hand namely; 1. Resistance to string friction 2. Retained strength in hand 3. Inherent rhythm in finger patterns 4. Seamless, accurate and effortless shifting 5. Rotation allows hand to encompass a minor third and more 1. Resistance to string friction; When the fingers try to shift on the strings at right angles they are pulled out of balance making consistent intonation out of the question. When the fingers move with the strings they glide easily and are not pulled at all. As well, the hand can truly be hung off the fingerboard in every position giving great weight to the hand. No effort has to be spent holding up the arm. These positions of hanging are the positions of balance that are absolutely essential in good playing. 2. Retained strength in hand; the hand stays small and focused on each note. Keeping the hand closed or small, always retains its power. Extensions eat up power quickly and they should be used rarely. A rotation is a movement from note to note; it is not a stretch that is held in a position like an extension. Even though the hand is more up and down now and the fingers are not over top of the notes, the hand can easily rotate to each note as needed. The faster the speed the less rotation is possible, but the hand should never be static in a position as if it is some scientifically calibrated device. The size of rotation varies from a very pronounced inverted hang for vibrato to the almost imperceptible wave of an extremely fast passage. 3. Inherent rhythm of finger patterns; using a rotation lets the forearm participate in finger motion and even though the fingers do not stay exactly over top of the notes, the rotation lets very, very fast patterns be played that are or can be nearly perfect rhythmically. This is the number one consideration for co-ordination with the bow. Too much practice time is wasted trying to co-ordinate hands that will only be together by chance. Rotations allow finger work to be clear and brilliant. Also, much less time is spent on practicing passagework. 4. Seamless, accurate and effortless shifting; the movement of the rotation is also the movement from the wrist that gives a perfect shifting technique. The movement is the same if it is a whole tone or an octave; the rotation allows for a landing on the note and an immediate restoration of balance. The notion of trying to find a note doesnt exist. It is more like jumping from rock to rock on a beach. For this reason, switching instruments with little or no adjustment period becomes the norm.
-
5. Rotation allows hand to encompass a minor third and more; allows more fingering possibilities for musical and technical solutions. Also makes playing the bass tuned in fifths more viable. A misunderstood impediment to good left hand technique is the practice of trying to retain a space between the first and second fingers in Germanic fingering and between the third and fourth in Italian fingering. In reality both are quite useable if a rotation is used and the strongest finger combinations utilized. For instance, 1 to 3 is stronger than 1 to 2, and 2 to 4 is stronger than 3 to 4. A double stopped interval is strongest 1-3 and 2-4. I believe that in a good left hand position if one allows the hand to relax while covering a whole tone 1 to 4, the semitone in between the two will actually fall somewhere between the second and third finger. I think that 1 2 4 is still strongest for chromatic fingerings and flexibility of rotation. Using a rotation of the hand from the elbow and wrist allows a player to take advantage of all the different schools of thought on this subject which is good since they all have merit. A good modern player should be able to utilize all his fingers in every position. A good left hand technique rolls like a ball from note to note, not like a stiff robot-like stick doing some job in a factory. Just as the left hand must have the supple flexibility to allow rotations, so must the right arm and wrist. While the right wrist does not ordinarily initiate a stroke, its looseness and freedom is the key to allowing the arms weight onto the bow so that extra downward force is never applied and the weight used can stay the same most of the time. As well, the wrist effects all bow changes and articulations. When the pumping action between the elbow and the wrist can become refined enough, spicatto at different speeds and dynamics becomes possible. The opening exercises (1-5) in this method work specifically on these mechanics. The middle section (Limbering, Gradus, offers a variety of strength building exercises that should be practiced in a varied and very moderate manner. The scale routines are specifically designed to benefit the right wrist and its functions with the end goal being to perform a variety of spicatto strokes. Interval and chord study are a vital part of intonation training. I suggest that one key per week be studied.
-
Fingering Explanation I have deviated from traditional fingering methods for several reasons. I don't believe that having a fingering over every note is beneficial; in fact, it may lead more to playing numbers than playing notes. I believe I can convey more information about left hand movement by actually giving less information. If no fingering is present, than it means the hand stays in that position. Sometimes I will indicate a fingering in a position if what I intend is not obvious, for instance, going into thumb position in the neck positions. I want to indicate only when the hand has to change position (shift) or else make some compensatory move. Because the distance of a minor third can be covered by a pivot of the hand, I don't consider that a shift, and do not indicate it with a number. Likewise, in thumb position, where a distance of an augmented fourth or even a fifth is easily spanned, I don't usually indicate a fingering. The player has to be aware of whether or not the hand is in a closed or open position. For this reason, my fingering system is not the most readily understood, but with further examination and study, more information and understanding is available about actual left hand movements and functions. A pivot is defined by whether the thumb moves or not. When the thumb (or any other finger) can re-locate itself into a new position without shifting, I usually mark them, but without a line. This relates to so-called "crab technique". In the Chord Studies, exercise III has the thumb adjusting constantly for instance. 1. A line over a finger number means a shift up the fingerboard. (toward the bridge) 2. A line under a finger number means a shift down the fingerboard. (toward the scroll) 3. If no line is present it means the note is reachable without a shift, but perhaps with a pivot. (don't move thumb) 4. When the fingerings are taken in context, it becomes clear what string is intended to be played. Therefore, I rarely mark the string unless it is really a choice. (I use roman numerals, I, II,III, IV) 5. With regards to my interval fingerings; I have chosen to use very few open strings at the three octave level. Thirds, Fourths and Fifths all play up the strings until the open string is past. Sixths, Sevenths and Octaves however start in the first octave
-
and a half by being across two strings. Only the upper octave and a half is played on the top string ( with long shifts) and not between two strings.
-
Section 1Exercise #1 String Crossings
q =60
1. Play this exercise 1.5 to 2 inches away from the bridge. 2. Always feel like your back is pulling the bow. Pull the string on it's left hand side for downbows; push on the right hand side for upbows. Allow your wrist to react freely. Don't lock it! 3. Turn the stick to make the string change. Keep the hair very close to each string and turn it with your wrist. Make the movement very deliberate, small and slow. 4. Resist the urge to press down on the bow especially on the lower strings. Use only the weight of and upper body. The strings should speak easily and give the impression that the notes pop out effortlessly.
3 3 3 3
2
-
#2 Long Tones
e =60 or less0000
1. This is single best way to affect change in your playing habits. It is really important that every facet of posture be observed here, because the slow playing ingrains habits (good and bad ones) most effectively.2. Pull and push with your back and shoulder and play very close to the bridge. Remember Exercise #1!3. Control the slow relaxed movement of the right wrist in the bow changes; the sound should never stop between notes. The bow should stay in exactly the same track from note to note and not suddenly skip over the string during the change. Constant slow contact!4. Use no vibrato when you want to find the maximum hanging positions for each finger on each note. Use vibrato when you want to connect the different hanging positions and ensure good balance. Use the rotational shift motion to play with no bumps. 5. The sound should be as even and full and controlled as possible. Use the slow speed to try and visualize each successfully executed motion before it happens.6. Use a diatonic scale if time does not allow for the chromatic.
1
!!!!
2
4444
0
1
!!!!
2222
4
0
1111
!!!!
2 4444 0 1 2 4444 !!!!
2 4444 !!!! 24444 !!!! 2 3333 !!!!
2
3333
!!!! 2 3333 !!!! 2 3333 !!!! 23333
3333 3333 3333
3333
4444 4444
4444 4444 0
$$$$
4444
3
-
Exercise #3/Hanging
q =53A
1. Always pull the bow with your back. 2. Play these exercises close to the bridge with no force on the bow. Keep the bow moving as legato as possible and only use the weight of your upper body. Play forte! 3. Keep your right wrist supple and loose; remember the bow motions of exercise #1. 4. Your left hand should feel like it hangs on every note and could be suspended there forever. Make sure your hand is never at a right angle to the string except on the fourth finger which should still have some inclination to it. Let your left hand wrist rotation help you land on the notes after all the shifts. 5. Do not make the shifts fast or of a uniform speed! Be aware of using no force or muscle to propel your hand. Each shift starts slowly and accelerates to the landing; the wrist rotation allows your hand to land or slide into the note maybe a little like someone sliding into base in baseball. The notes will be in tune with no effort or adjustment! Don't hunt for the notes or guess where they are!
To be played very slowly with very wide non-stop vibrato in the following finger patterns; 1-1, 2-2, 3-3, 4-4 (1 octave), 4-1 for exercises A and B. Other possibilities exist. All exercises could be played in all keys and on different strings.
.
1111
!!!!
1111
!!!!
etc.etc.etc.etc.
One Finger Scale
and back downand back downand back downand back down
q =60
B1111
!!!!
1111
!!!!
Vomit or Sleigh Ride Exercise
1111
!!!!
1111
etc.etc.etc.etc.
q =60/120
C1111
1111!!!!
1111
!!!! 2222
1111
Flesh Burning Exercise
!!!!
1111
!!!! 2222
1111
!!!!
1111
!!!! 2222
1111
!!!!
1111
!!!!etc.etc.etc.etc.
4
-
e =53
Exercise #4 Slow Shift and Pivot
1111 3333 !!!!Make all left hand motions slow and smooth. Focus on using the left wrist rotation tomake the shift upwards and the 3rd finger pull back for the downward shift. Don't lock your fingersin the pivoting especially between 1 and 3. Don't allow your knuckles to collapse; it's really bad!
2222 3333 2222 1111 3333 1111 2222 !!!! 3333 1111 2222 !!!! 3333 1111 2222
etc.etc.etc.etc.
33334444
!!!!
4444
3333
3333
etc.etc.etc.etc.
!!!! 2222 4444
0000!!!! 4444
####IIIIIIII
0000 !!!!
####IIIIIIIIIIII
4444
0000
####IVIVIVIV
5
-
Exercise #5 Double Stops
1111 4444 2222 4444 2222 4444
44441111
!!!!
!!!!
!!!!
!!!!
!!!!
!!!!
!!!! 4444
!!!! 3333
!!!! 3333
==== 2222 1111 2222 1111 2222
2222++++
!!!! 3333 2222 3333 2222 3333
!!!! 3333 2222 3333 2222 3333
!!!!
etc.
Var.1
1111 4444 2222 4444 2222 4444
44441111
11114444
44441111
!!!!
etc.
Var.
!!!!
2
3333 2222 3333 2222 3333
33331111
11113333
33331111
++++1111
33331111
!!!! 3333 2222 3333 2222 3333
etc.
6
-
Section 2"el perro"
++++ 1111 2222 3333
1. Always pull the wrist/arm right back on all the thumb notes so that the notes are closed with a callous that extends onto the top edge of your thumb. If left in position for the third finger, no rotation is possible. The side edge of the thumb only touches on third finger notes.2. Try and make obvious positions for each finger through the forearm and wrist. Continousvibrato could be helpful.4. These next three exercises could be played in all keys and on different strings.
++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++ ==== 1111 2222 3333 ++++ 3333 2222 3333 ++++ 1111 2222 3333 ++++ 3333 2222 ++++
==== 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++ ==== 1111 22223333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++
==== 11112222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++ ==== 1111 2222 3333 ++++ 3333 2222 3333 ++++ 1111 2222 3333 ++++ 3333 2222 ++++
==== 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++ ==== 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++
++++ 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++ ++++ 1111 2222 3333 ++++ 3333 2222 3333 ++++ 1111 2222 3333 ++++ 3333 2222 ++++
++++ 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++ ++++ 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++
++++ 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++ ++++ 1111 2222 3333 ++++ 3333 2222 3333
++++ 1111 2222 3333 ++++ 3333 2222 ++++++++ 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++
1111
Var.1/2Var.1/2Var.1/2Var.1/2
Var.3Var.3Var.3Var.3
Var.4Var.4Var.4Var.4
Var.5Var.5Var.5Var.5
Var.6 (Paganini Bowing)
Var.7Var.7Var.7Var.7
Var.8Var.8Var.8Var.8
Var.9Var.9Var.9Var.9
Var.10Var.10Var.10Var.10
7
-
"el burro"
1++++ 1111 3333 1111 ++++
3333 1111 ++++ ====
2222 3333
====
etc.etc.etc.etc.
====
====
====
====
====
++++
++++
++++
++++
++++
++++
++++
1111
2==== 1111 3333 ====
2222 3333
etc.etc.etc.etc.
3333 3333
etc.etc.etc.etc.
3++++ 2222
3333====
22223333 etc.etc.etc.etc.
22223333
22223333
etc.etc.etc.etc.
Var. 1
Var.2Var.2Var.2Var.2
Var.3Var.3Var.3Var.3
Var.4Var.4Var.4Var.4
Var.5Var.5Var.5Var.5
Var.6Var.6Var.6Var.6
Var.7Var.7Var.7Var.7
8
-
"el porko"
0000 1111 2222
4444
1111
3333 @@@@
4444
1111
3333 @@@@
@@@@
@@@@
==== 1111 2222
3333
etc.etc.etc.etc.
++++
and downand downand downand down
Var.1Var.1Var.1Var.1
Var.2Var.2Var.2Var.2
Var.3Var.3Var.3Var.3
Var.4Var.4Var.4Var.4
Var.5Var.5Var.5Var.5 Var.6Var.6Var.6Var.6
9
-
Limbering Exercises
10000 1111
Play just a few minutes of these a day and be very careful not to overdo #9 (extensions). #5 (14) is very helpful.
2222 4444
!!!!
etc.etc.etc.etc.
20000 4444 2222 1111
$$$$
etc.etc.etc.etc.
30000 1111 2222 4444 2222 1111
!!!!
etc.etc.etc.etc.
40000 4444 2222 4444 1111 4444
$$$$
etc.etc.etc.etc.
51111 2222 4444 2222 1111
4444 2222 4444
!!!!
etc.etc.etc.etc.
62222 4444 2222 1111
@@@@
etc.etc.etc.etc.
7
4444 2222 1111 2222
$$$$
etc.etc.etc.etc.
80000 2222 1111 4444
@@@@
etc.etc.etc.etc.
91111 4444 3333 4 (extensions)4 (extensions)4 (extensions)4 (extensions)
1111
4444 2222 4444
1111 4444 2222 4444
only down a minor thirdonly down a minor thirdonly down a minor thirdonly down a minor third
etc.etc.etc.etc.1111
4444 3333 4 4 4 4
10
-
10
1111 4444 2222 4444 (no(no(no(no
extensions)extensions)extensions)extensions)
1111
4444 1111 4444
1111 4444 2222 4444
1111
4444 2222 4444
etc.etc.etc.etc.
11==== 1111 2222 3333
1111
2222
====
etc.etc.etc.etc.
12++++ 3333 2222 1111
====
etc.etc.etc.etc.
13++++ 3333 2222 3333
++++
3333 1111 3333
++++ 2222 1111 2222
++++
3333 2222 3333
etc.etc.etc.etc.
141111 2222 3333 2222 1111
3333 2222 3333
!!!!
etc.etc.etc.etc.
15++++ 3333 2222 3333 1111 3333
====
====
etc.etc.etc.etc.
16++++ 1111 2222 3333 2222 1111
====
====
etc.etc.etc.etc.
11
-
Simandl Gradus ad Parnassum #21
1111 4444 (3)(3)(3)(3) 4444 1111
4444 1111 4444 (3)(3)(3)(3)
4444 1111 4444 1111
4444 (3)(3)(3)(3) 4444 etc.etc.etc.etc.
C.P.C.P.C.P.C.P.
12
-
13
-
Simandl Gradus ad Parnassum #21 upper octave
1111 3333 2222 ++++
1111 3333 2222
1111 ++++
2222 1111
1111 ++++
2222 1111
++++ 2222
1111
!!!!
14
-
15
-
Knuckle Buster #1
0000 2222
!!!!
1111 3333
!!!!
4444
$$$$
4444
!!!!
!!!!
1111 3333
!!!!
$$$$
4444
4444
!!!!
@@@@
1111
!!!! 3333
$$$$
4444
4444
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
16
-
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
!!!!
4444
4444
$$$$
2222 1111
17
-
Knuckle Buster #2
0000 2222
!!!!
1111 3333
!!!!
4444
$$$$
4444
!!!!
!!!!
1111 3333
!!!!
$$$$
4444
4444
!!!!
@@@@
1111
!!!! 3333
$$$$
4444
4444
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
18
-
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
3333
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222 1111
19
-
Knuckle Buster #3
0000 2222
!!!!
1111 3333
!!!!
4444
$$$$
4444
!!!!
!!!!
1111 3333
!!!!
$$$$
4444
4444
!!!!
@@@@
1111
!!!! 3333
$$$$
4444
4444
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333 !!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
20
-
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
@@@@
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222 1111
21
-
Scale Progressions
3's
1.Play the 3's with three notes in the hand and pivoting. Don't use the thumb. Play up the string until you get to a clear open string that takes all the notes.2. Play the 4's as duples, ie. 2 shifts per beat. Play up the string until the figure sits entirely on a new open string.3. Play the 5's with combinations of 3's and 2's. The formula is dependant on the harmony;I = major (2&3), II =minor (3&2), III = minor (3&2), IV = major (2&3), V = major (2&3), VI = minor (3&2), VII = diminished (either, 2&3 is better).4. Play 6's as three groups of 2's except; play 4 & 2 when you have an open string. When you play the III, VI, and VII degrees of the scale, they can easily be played as two groups of 3's. Groups of 6 that start in the thumbposition could all be groups of 4&2 or 2&4. The group of 4 should always start with the thumb. 6's could be played with 2 groups of 3,but playing two groups of the major third pivot in a row is most perilous! (except in thumbposition) 5. Play 7's as you played 5's; I = (2&3&2), II = (3&2&2), III = (3&27&2), IV = (2&3&2), V = (2&3&2), VI = (3&2&2) and VII = (either, 2&3&2)6. Groups of 8 could be 4 groups of 2's like the 6's and as well the III, VI, and VII degrees could be played 3&3&2. Thumbposition could be 2 groups of 4.7. Play scale progressions in all keys, both legato and slurred staccato.8. Should any of the 3's in the major third spans prove too difficult, then play 1-1-4/4-4-1 or 1-1-3/3-3-1 or else use thumb.9. THE SPEED OF ALL THE NOTES IS THE SAME! triplet eighth=sixteenth=fivelet=sextuplet=thirty second notes
0000 1111 4444
1111
3333 4444
!!!!
etc.etc.etc.etc. 2222 4444
0000 1111 4444 !!!! 2222 4444 1111 3333 4444 4444
1111 2222 4444 1111 2222 4444 !!!! 3333 4444 !!!! 2222 4444 !!!! 2222
4444 !!!! 2222 3333
!!!! 2222 3333
!!!!
2222 3333
!!!!
2222 3333
!!!! 2222 3333 !!!! 2222 3333 !!!! 2222 3333
!!!!2222 3333 !!!! 2222 3333 !!!! 2222 3333 !!!! 2222 3333
4's0000 1111 2222 4444
1111
4444 !!!! 4444
4444 !!!!
etc.etc.etc.etc. 3333 !!!! 4444
3333
0000 1111 !!!! 4444 1111
1111 4444 @@@@ 4444 !!!! 4444 !!!!4444 4444 1111 3333 !!!! 4444 3333 !!!! 4444 @@@@ 4444 4444
!!!! 4444 !!!!
4444 4444 !!!! 3333 !!!! 4444 3333 !!!! 4444 !!!! 3333 4444 !!!! 4444 @@@@ 3333 4444
!!!! 3333 @@@@ 3333
4444 !!!!
2222 !!!! 3333
2222
!!!!
3333 @@@@ 3333
3333
!!!! 3333 !!!! 3333 3333
!!!! 2222 !!!!3333 2222 !!!! 3333 !!!! 3333 3333 !!!! 3333 @@@@ 3333 3333 1111 !!!! etc.etc.etc.etc.
22
-
5's0000 1111 !!!! 2222 4444
1111 1111
3333 4444 !!!! 4444
4444
!!!! 2222 4444 !!!! 4444 4444 0000 1111 !!!! 3333 4444 1111
5
1111 4444 !!!! 22224444 4444 !!!! 3333 4444 !!!! 4444 4444 1111 3333 !!!! 3333
4444 3333 !!!! 4444 !!!! 2222 4444 4444
!!!! 3333 4444
!!!! 4444 4444 !!!! 2222 4444 !!!! 4444 !!!! 4444 !!!! 22223333 4444 !!!! 4444 !!!! 2222 3333 4444
!!!! 2222 3333 !!!! 3333
3333 !!!!
2222 3333 @@@@ 3333
3333
!!!! 3333 !!!! 2222 3333 3333 !!!! 2222 3333 !!!! 3333 3333
!!!! 2222 3333!!!! 3333 3333 !!!! 3333 !!!! 2222 3333 3333 1111 !!!! 3333 1111 !!!! 3333 etc.etc.etc.etc.
6's0000 1111 3333 4444 !!!! 4444
4444 1111
4444 !!!! 4444 !!!! 4444
4444 4444
!!!! 2222 4444 !!!! 3333 4444 4444 0000 1111 3333 4444!!!! 4444 4444 4444
6
1111 4444 !!!! 3333!!!! 4444 4444 4444 1111 3333 4444 !!!! 3333
4444 4444 1111 2222 4444 !!!! 22224444 4444 !!!! 4444 !!!! 3333 !!!!
4444 4444 4444
1111 3333 4444
!!!! 2222 4444 4444 !!!! 2222 4444 !!!! 33334444 4444
!!!!
4444 !!!! 3333 !!!! 3333
3333 4444 !!!!
4444 !!!! 2222 !!!! 3333
3333 4444
!!!! 2222 3333 !!!! 2222 3333
3333
!!!! 2222 3333 !!!! 2222 3333
3333 !!!! 3333 !!!! 2222 !!!!3333 3333 3333 !!!! 3333 !!!! 2222 !!!! 3333 3333 3333
!!!! 2222 3333!!!! 2222 3333 3333 1111 !!!! 3333 1111 !!!! 3333
1111
!!!!
3333 etc.etc.etc.etc.
23
-
Area Code Scales
246246246246
Any combination adding up to 12 willAny combination adding up to 12 willAny combination adding up to 12 willAny combination adding up to 12 willwork. eg.345,831,255)work. eg.345,831,255)work. eg.345,831,255)work. eg.345,831,255)
6 6
6 6
462462462462
6 6
6 6
624624624624
6 6
6 6
642642642642
6 6
6 6
426426426426
6 6
6 6
264264264264
6 6
6 6
24
-
Rosin Lovers Special
Slowly
25252525
1 2
3 4 5 6
3 3 3 3
7 8 9 10 11
3 3
12 13
14
15 16 17 18
19 20
21 22 23 24
25
26 27 28 29 30
31 32 33 34
3 33 3
35 36 37 38 39
40 41 42 43 44
45 46 47
48 49 50
51 52 53 54 55
repeat 51-55 with separate bows
-
1The Jobber's Bowing Exercises (2 octaves)q =60 2 3
3 3 3 3
4 5 6 short, on string
7 8 9 3 3 3 3
10 11 12 13 legato
14 15 16
17 18 19
20 21 22
23 24 3 3 3
3
q =8025 26 27
30
-
q. = 8428 29 30 31
32 q = 100-12033 34 35
36 37 38
39 q =87+40 41
42 43 44
45 46 47
spiccato
48 49 50
51 52 3
53 54
31
-
1 q =60-80
The Professional's Bowing Exercises (3 octaves)
2 3 3 3 3 3
4 5 6 3 3
7 8 9
short, on string
10 11 12 3 3 3 3
13 14 15 3 3
16 17 18 19 legato
20 21
22 23
24 25
26 27
28
29
32
-
q =108-12030 31 32 33
frog tip frog tip
3 3 33
q. =96-10434 35 36 37 Beethoven 7 (repeat with no slurs 34-38)
38 q =110-12639 40
Fast (repeat with no slurs 39-41)
41 42 43 44
q =110-13045 46 47
48 49
50 51 52
53 54 55 spiccato 3
56 57
58 59 60 ricochet
6 6 6 6 3
33
-
1 q =80-100
The Virtuoso's Bowing Exercises
2 3 3 33 3
4 5 6
7 8 9short, on string
3 3
3 3
10 11 12 legato
13
14
3 3 3 3
15 16
3 3
17 18
19 20
21 22
23 24
34
-
25 26 27
3 3 3 3
28 29 30
31 32
6 66
6
33 34 35
3 3
33
36 q =104+37 38 39
frog tip frog tip
40 41 42 43
44 q =144+45 46
47 48 49
50 51 52 53
q =126+54 55
35
-
56 57 58
59 60 61
62 63
64 65 3333
3333
3333 3333
66 67
68 69
q =132+70 71 72spiccato
3 3
73 74 75
3 3
76 77
78 79 6 6 6
66 6
66
36
-
1Variations for Chord Studies/Arpeggios
2 3Chord StudyChord StudyChord StudyChord Study
4 5 6
7 8 9
10 11 12
13 14 15
16
17 18
three note patterns
19 20 21
22ArpeggiosArpeggiosArpeggiosArpeggios
23
37