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Contents
Introduction VIIIndex of music examples 306General index 332
Part 1 – Fast passagesTempo 1
Practising very slowly 1
Practising at performance tempo 2
Speeding up with the metronome 2
Fast runs: controlling the speed 3
Low fingers 4
Holding down the fourth finger 4
Practising extra-close to the string 5
Staying close after a shift 6
Fast fingers 7
Blocks 11
Co-ordination 14
Loops 16
Adding one note at a time 21
Groups 24
Clarity 27
Drop-outs 27
Separate bows – staccato – accented legato 32
Playing on open strings 34
Rhythm practice 36
Accent practice 43
Part 2 – ToneQuality 47
Describing the sound 48
Playing a phrase on each soundpoint 48
Building individual notes 52
Deepening the tone: pulsing 54
Improving listening 56
Point of contact 57
Angle of strings to the floor 57
The higher the string, the nearer the bridge 58
The shorter the string, the nearer the bridge 59
Bow pressure and pitch 60
Evenness 61
Bowing on open strings,fingering on adjacent strings 61
Equalizing � and � 64
Stopping the finger while continuingwith the bow 66
Tone exercise using dynamics 67
Building up from small amounts of bow 68
Sustaining 69
Different qualities of the bow at heeland point 69
Pushing the wood of the bow downtowards the hair 70
Long, slow, sustained strokes:developing control 71
Balancing double stops: varying the weight 72
Balancing double stops: tremolo 73
Avoiding an unintentional diminuendo 74
Angle of the bow to the bridge 76
Part 3 – Key strokes
Chords 77
Distance from the bridge 77
Pivoting 78
Intonation 79
Bow balance and contact 80
Isolating specific fingers 81
Joining chords to each other 82
Splitting the chord: bow division 82
Placing the fingers in time before the bow 83
Non-split chords: sustaining 84
Détaché 86
Simple détaché: smooth bow changes 86
Simple détaché: using slurs as a model 87
Accented détaché: proportions 87
Martelé 88
Designing the stroke 88
Adjusting the bow hold 88
Catching the string 89
Vibrato accents 89
Releasing between strokes 90
Staccato 90
Note about rhythm and accent practice 90
Legato slurs 90
Using spiccato as a model 91
Saving bow 91
Curved bow strokes 92
String crossings 92
Metronome practice 92
Spiccato 93
Legato slurs 93
Height and length 93
Amount of hair 94
Soundpoint 94
Forearm rotation 95
Co-ordination 95
Area of bow 96
Collé-spiccato 96
Sautillé 97
Legato slurs 97
Taking fingers off the bow 97
Based on spiccato 98
Curved bow strokes 98
Area of bow 99
Ricochet 99
Experimenting with proportions 99
Experimenting with string crossing 100
Legato slurs 100
String crossing 101
Playing close to the new string 101
Crossing early 102
Staying close to both strings inrepeated crossings 105
‘Click’ practice 106
One action, not two 108
Bow division 110
Even, cantabile bowing 110
Using less bow when a note is important 111
Two-thirds – one-third – two-thirds 113
Working up or down the bow 114
Long, slow, sustained strokes:practising at a slower tempo 115
Saving bow: exaggeration 116
Using enough bow: exaggeration 117
Using enough bow:gradually speeding up 118
Part 4 – Left handIsolating the left hand from the bow 119
Using slurs 119
Using double stops 122
Playing without the bow 122
Trills 123
Playing without the trill 123
Speed: height of finger 123
Speed: direction of movement 123
Clarity: adding notes one at a timein tempo 124
Clarity: adding notes one at a timewhile pausing 125
Using other fingers as models 126
Timing the rhythm of the turn 126
Inaudible change of bow 127
Sustaining trills while playing another line 128
Vibrato 128
The track 128
Area of fingertip: pad or tip 129
Correcting over-wide vibrato 130
Vibrato pulsing 130
Speeding up with the metronome 133
Vibrato not as a substitute for tone 133
Tone not as a substitute for vibrato 133
Varying speed and width 134
Using another finger as a model 135
Continuous vibrato:holding down fingers 136
Continuous vibrato:dropping and lifting fingers slowly 137
Vibrato accents 138
Double stops: isolating fingers 138
Harmonics 139
Playing fingers separately 139
Double stops: practising individual fingers 139
Left-hand pizzicato 140
Angle of plucking 140
Stopping the string 140
Scales and arpeggios 141
Note about rhythm and accent practice 141
Vibrato 142
Playing scales as music 142
Bowing patterns 143
Metronome practice 144
Improvising 148
Chromatics: isolating the shift 149
Short-cuts: thirds, sixths andfingered octaves 150
Part 5 – ShiftingThe feel of the hand and fingers 153
Memorizing the feel of the position 153
Using glissando to measure the shift 156
Comparing shifting to a different finger 156
Comparing shifting to adjacent notes 157
Semitone shifts with one finger 158
Substitutions 159
Intermediate notes 160
Classical shifts 160
Romantic shifts 163
Combination shifts 165
Exchange shifts 166
Ascending shifts: practise three ways 169
Position-finding using intermediate notes 170
Timing the shift 172
Speed of shift 172
Slow arrival speed 172
Taking time from the notebefore the shift 175
Missing out the note before the shift 177
Co-ordination: overlapping withthe previous bow 179
Playing in one position 181
Lightening the shift 182
Releasing the hand and fingers 182
Ghosting 182
‘Trilling’ shifts 183
Isolating the shift 186
Harmonics 188
Shifting to a harmonic 188
Sustaining natural harmonicswithout the finger 189
Chromatic glissando 190
Speed of glissando 190
Building the run in groups 191
Using an ordinary fingering asa model 192
Part 6 – Intonation
The feel of the hand and fingers 193
Holding down fingers 193
Square and extended finger shapes 194
Filling in spaces between notes 195
Practising without rhythm or real tone,learning notes only 196
Tone–semitone patterns 196
Playing the same notes indifferent positions 200
Starting a phrase on different keynotes 201
Playing the same fingerings ondifferent strings 202
Extensions: dividing the distance 203
Extensions: notes before or after 206
Uniform intonation 207
Testing, relating, comparing 207
Tuning scales: three stages 210
Same notes, different octaves 212
Sharps and flats 214
Wide and narrow semitones 214
Fast intonation 215
Isolating individual notes 216
Marking arrows 216
Accents 216
Playing intervals not notes 217
Tuning to a piano, then adjustingsharps and flats 218
Double stops 218
Using the ‘third tone’ as a pointof reference 218
Using the third tone to tunesingle stops 220
Thirds: naming intervals andspacing of fingers 221
Thirds and fingered octaves:placing in blocks 222
Thirds: using the perfect fourth 223
Tuning perfect fifths 224
Playing one string at a time whilefingering both strings 225
Leaving fingers down to have timeto listen 227
Tenths: moving from one to another 228
Part 7 – Freedom and easeReleasing the left hand 229
Keeping a space between thethumb and first finger 229
Rotating the thumb 229
Lightening the thumb 230
Releasing fingers with the base jointof the first finger 230
Releasing held-down fingers 231
Releasing between finger actions 231
Stop–release 233
Building up frompp 234
Independence: light left hand,heavy right hand 235
Using spiccato 236
Non-vibrato 236
Finger action 237
Angle and height of knuckles 237
Straight wrist 238
Moving fingers from the base joints 239
Placing fingers gently 240
Timing the finger and bow for fast playing 245
Widening the hand at the base joints 246
Basing the hand position onthe upper finger 246
Extending the reach of thefourth finger 250
Thirds and fingered octaves 251
Releasing the right hand 253
Bow-hold flexibility 253
Playing without the first fingerin f passages 254
Playing without the first finger:lifted strokes 254
Balancing with the fourth finger 255
Pulling in with the third finger 255
Releasing the right arm 256
Supporting the wrist in the upper half 256
Bowing from the elbow 257
Levering into the string with the elbow 258
Spreading the fingers for leverage 259
Flat or tilted hair 259
Active and passive strokes 260
Arm or hand leading string crossing 262
Returning for the next stroke aspart of the last 264
Forearm rotation 265
Repeating the movement 265
Hand movements in forearm rotation 266
Proportions of forearm and upper arm 267
Beginning and ending notes 268
Rapid string-crossing passages:leaning the elbow against the wall 268
Forearm rotation on one string 269
Localizing actions 270
Back and neck 271
Playing without the chin on the chin rest 271
Placing the chin on the chin rest 271
Counter-exercising 272
Hip joint 274
Part 8 – Further essentials
ABC practice 275
Repetition practice 280
Rhythm 282
Singing and tapping subdivided pulsewhile playing 282
Subdividing 282
Bow accents to mark rhythmic groups 284
Finger accents as rhythmic aiming-points 285
Lifting off at the last possible moment 286
Dotted patterns 287
Sound + silence = note value 288
Playing the rest 288
Playing the dot or tie 289
Mental rehearsal 290
Memory 292
Practising from memory 292
Aural 292
Visual 292
Tactile 293
Intellectual 293
Looking and thinking ahead 294
Feeling relationships between notes 294
Accenting weak-memory notes 295
Playing under tempo,exaggerating expression 296
Technical basics 297
Experimenting with proportions 297
Defaults: building good habits 299
Practising performing 304
Playing-through practice 304
Performing a short phrase 305
Introduction
The music examples in Practice, drawn from thestandard solo violin repertoire, illustrate typicalmusical and technical demands that arise duringthe normal course of playing.
What are the practice methods for?
Some of the practice methods are ways of improv-ing tone, intonation, shifting, vibrato, relaxation,and so on. Some are ways of finding out what theproblems actually are. Often we know that some-thing is not quite right, but we do not know whatit is or why; or we can get a piece only so far andthen we feel stuck, and do not know what to donext to improve it.
Some of the practice methods are ways of tryingto cause yourself problems, so that afterwardswhat you actually have to do feels easier. Somemethods build and improve technique at the sametime as making a specific passage easier to play, sothat each time you practise them your techniquegrows or strengthens. Then all other passages ofthat type take less time to learn because they feeleasier to play in the first place.
Making fast progress
Whatever stage you are at in learning a piece, thefastest progress comes from being able to look ata phrase or passage from many different angles.Then it is much easier to isolate whatever changesneed to be made, either musical or technical. Themore ways you have of taking a passage apart andputting it back together again, the better. Practicecontains a large repertoire of widely varied methods,and you can quickly move from one to another,improving the phrase or passage with each newapproach.
How long do they take?
Most of the practice methods should end up assomething that you do for a matter of seconds,even if they take half a page to describe in words,and five minutes to do for the first time if the ideais new to you. For example, once you know howto lighten shifts by repeating them up and downvery quickly (‘Trilling’ shifts, page 183), it becomessomething that you do without thinking about it,as part of the normal flow of practice.
Working on a short phrase of separate-bow six-teenth-notes (semiquavers), you might check theintonation by relating each note, one at a time, toother notes or fingers (Testing, relating, comparing,
page 207); you might play the passage with slursinstead of separate bows to make sure that theleft-hand fingers are even (Using slurs, page 119);you might work on clarity, co-ordination andpurity of tone by playing only the first note, thenthe first two notes, then the first three notes, etc.(Adding one note at a time, page 21).
Then you might improve the tone by playing thephrase at different distances from the bridge(Playing a phrase on each soundpoint, page 48); thenyou might decide to work on the bow strokes byplaying the passage on open strings, without theleft hand (Bowing on open strings, fingering onadjacent strings, page 61); and so on.
Once you are familiar with the five practicemethods outlined above, you might use all of themwithin the space of just a few minutes. In otherwords, they become integrated and merged intoa general, seamless, intuitive approach to practice.
Some methods take longer to do, and can use upan entire practice session. An advanced playermay spend a whole day practising, say, the lastmovement of the Tchaikovsky Concerto in rhythmsand accents (Rhythm practice, page 36; Accentpractice, page 43).
One thing improving another
One practice method often improves another atthe same time. After practising a passage usingrhythms, accent practice feels easier to control.After practising in rhythms and accents, you arethen starting at a much higher level when you goon to practise the same passage in other ways, e.g.by beginning slowly then gradually speeding upwith the metronome (Speeding up with the metro-nome, page 2).
Combining practice methods
The different practice methods also become in-tegrated when you use several at the same time.Speeding up with the metronome is good to applyto rhythm or accent practice. At the same time astuning a double-stop passage by playing only oneline at a time (Playing one string at a time whilefingering both strings, page 225), you could also beplacing the fingers with extra lightness (Buildingup from pp, page 234), or practising in rhythms,or practising without the thumb on the neck ofthe violin (Lightening the thumb, page 230). At thesame time as improving the tone by making deep,
VII
rounded accents with the bow (Deepening the tone:pulsing, page 54), you could be playing withoutvibrato (Vibrato not as a substitute for tone, page133), or practising string crossings by playingthem as a double stop (Crossing early, page 102).
Doing one thing at a time
Equally, the most effective practice often consistsof doing one thing at a time, rather than trying tofix everything all at once. The different methodsand approaches presented in Practice make it easyto take just one feature of playing and focus onit exclusively.
You may decide to work through your entireconcerto looking only for chances to use morebow (Using enough bow: exaggeration, page 117);or concentrate only on keeping the bow nearenough to the bridge (Point of contact, page 57);or check that you really are balancing the weightof the bow at every opportunity, rather thangripping it (Balancing with the fourth finger, page255).You may decide to check intonation by goingthrough the whole piece, thinking only abouttuning the open-string notes to the open strings,and tuning all the sharps and flats to the naturaldirectly above or below (Uniform intonation, page207). You might focus on shifting, practising allthe intermediate notes (Intermediate notes, page160), so that afterwards – even if you forget about‘shifting’ altogether, and just concentrate on themusic – you have a feeling of great technical securitybecause of the foundation work you have done.
Improving your playing overall
Part 7 (Freedom and ease) looks at ways to makeplaying feel easy and effortless. The ideal, achievedby many string players, is that the arms, hands
and fingers remain free from any tension or strain,so that by the end of playing a symphony or aconcerto they feel as light, balanced and free asthey did at the beginning. The practice methodsexplore how to add thousands of moments ofrelease to every phrase and passage, and to basetechnique on everyday principles of proportionsand mechanics. There are also a few key exercises,for releasing the back and neck, to use as a partof daily practice.
Part 8 (Further essentials) touches on moregeneral areas. Memory (page 292) outlines variousways to strengthen playing from memory, andhow to make these a routine part of practice. Thekey principles of Mental rehearsal (page 290),which form the foundation of everything that wedo on the violin, musical as well as technical, areincluded here.
Part 8 also includes Technical basics (page 297),a brief summary of some important points oftechnique.
Enjoying making music
The more ways you have of practising, the moreyou can combine them to find new, unique,personal practice routines and methods. Ap-proached in this way, practising is an endlesslycreative process. It is always stimulating, interest-ing and rewarding; you get fast, wide-rangingresults in the shortest possible time, and achievethe ultimate aim: to be able to make music with-out anything getting in the way.
The great Russian violinist Nathan Milstein wasonce asked what he thought about while he wasplaying. ‘Nothing, really,’ he replied, ‘I am justtrying not to spoil the music!’
Jennifer King marking the start ofone of the photo sessions
AcknowledgementsPreliminary drafts of Practice were shown to anumber of teachers, players and students, and Iam grateful for the many helpful comments Ireceived. Particular thanks to Enrico Alvares,Raymond Fischer, Guido de Groote, Kyra Hum-phreys, Peter Lale, and Shirley Turner, for check-ing in detail through several versions of themanuscript. Shirley’s help was also invaluable inchoosing the photographs. Thanks also to IanBaird, Walter Carrington, Alice Colby, DorothyDeLay, Emanuel Hurwitz, Yfrah Neaman, MaciejRakowski, Liz Watson, and many others, whosesuggestions and encouragement for the projectare gratefully acknowledged.
Thanks also to Tim McNally, of Thames Infor-mation Systems Ltd, for keeping my computerand software up-to-date and functioning.
Finally, I am very grateful to Jennifer King whomodelled for the photographs.
VIII
ABC practice 275, 292Accent practice viii, 43, 274Accented legato 32Acoustic beats 56Active and passive 98, 260Aristotle 253Arm (left)
hanging 230proportionate to instrument 301short 298upper arm See Upper arm (left)
Arm (right)causing sympathetic movements 270channelling power 256impulse 262mental rehearsal 290upper arm See Upper arm (right)
Arpeggios 147, 168, 175, 177,179, 182, 244
dominant/diminished sevenths 147uniform intonation 212
Articulationleft hand 7right hand 57
Auer, Leopold 282
Back 270, 271, 272Balance 272, 274, 299Banana notes 110Base joints 159, 232, 235, 270
angle to fingerboard 300defaults 300exercise using rim of violin 239extensions 250finger action 239left-hand pizzicato 140right hand 302straight line to elbow 301widening at 246widening using tilt of finger 300
Blocksthirds 222tone–semitone patterns 197, 198
Bowangle to bridge 258, 302balance (chords) 80balance (double stops) 72, 73balancing with fourth finger 255, 303change 27, 57, 86connecting strokes 57control 143elasticity 53, 69, 70, 82, 113, 297friction 56give of wood and hair 54, 113, 297hair See Bow hairin and out 258independent of left fingers 137legato 137levels 105momentum 301pivoting See Pivoting
around thumb 97, 254point-of-balance 82, 257soundpoints See Soundpointsspringiness 69, 70, 89tilt 89, 259, 297, 302
Bow divisionchords 82more important notes 111
saving bow 114, 115, 116two-thirds–one-third–two-thirds 113using enough bow 117, 118
Bow hairchords 80designing bow strokes 110friction 56give 48, 53, 54, 69, 70, 89, 113, 297hair–string contact 67inner and outer edge 265sautillé 99spiccato 94, 99string crossing 83, 102, 106tilt 89, 259, 297, 302
Bow holdchords 84finger placement 88, 259, 297, 302finger tips losing contact 259flexibility 253gripping 90, 255leverage 88, 89, 259, 297, 302martelé 88, 90pianissimo 302responding to bow 69spiccato 302tension 302thumb counter-pressure 297
Bow pressurebanana notes 110bridge, playing near to 54changing bow 86describing 48even 86, 100, 110extraneous sounds 56fourth finger, balancing with 255ghosting 160heavy–light 86, 112high positions 59intonation 60martelé 89proportions 51, 297ricochet 100speed not pressure 302
Bow speedbanana notes 110changing bow 86describing 48even 86, 100, 110, 111extraneous sounds 56fast–slow 87, 89ghosting 160proportions 47, 51, 297ricochet 100speed not pressure 302
Bow strokes See also each strokeactive and passive 98, 260attacks from the air 298character 87circular 264connecting 57curved 92, 268designing speed and pressure 110evenness 61, 112fast–slow 53, 86, 87, 89, 112gravity 64heavy–light 52, 53, 64, 86, 87,
89, 112legato 34, 137, 301lifted 297
mental rehearsal 290momentum 301open strings, practising on viii, 34overlapping 119parallel to bridge 76, 299, 302proportions 88reversed bowing 64, 65saving bow 71, 116slow, sustained 71, 115speed not pressure 47, 302sustaining 74
Breathing 110, 159Bridge, following curve of 82, 83Bronstein, Raphael 158, 283
Casals, Pablo 110, 123Chin
excess pressure 43, 232placing on chin rest 271
Chords 301ABC practice 279balance of bow 80bow division 82bow hold 84circular movement 264co-ordination with bow 83curve of bridge 78, 82four-string 77intonation 79isolating fingers 81joining 82light fingers 84pivot string 78point-of-balance 82reaching back 247soundpoint 77, 78, 80, 84split 78sustaining 84three–two 84voicing 80weight of bow 84
Chromatic glissandobuilding in groups 191models 192speed 190
Chromatic scales 146, 149, 186Clarity 7, 27, 32, 106, 124, 140Classical shifts See ShiftingClicks 83, 106Clothes 299Collé-spiccato 96Colour 47Combination shifts See ShiftingCommand–response 36, 280Co-ordination 36, 83, 119, 122, 243
bow change 57bowing patterns in scales 143fast lift-off 10fingers leading bow 14fuzz 14pizzicato 14shifting 179spiccato 95timing finger and bow 240, 245
Counter-exercising 272Curved strokes See Bow strokes
Da Vinci, Leonardo 297de Bono, Edward 56
General index
332
Defaults 299DeLay, Dorothy 207, 239Détaché 145, 147
accented 87, 261length of bow 115proportions 87simple 87
Diminuendo, unwanted 74Double contact, principle of 301Double stops See also each interval
alternate upper and lower line 226bow balance 72, 73bowing one string 225fixed and movable notes 218leaving fingers down 227light fingers, heavy bow 84perfect intervals 209third tone 218, 220using a model 227vibrato exercise 138wrist 301
Drop-outs 27, 29, 36
Effort 275bowing too near fingerboard 57broad bow stroke 117channelling power into string 256economy of movement 207, 274finger action (left hand) 240forearm rotation 267fourth finger (left) hand weight 230levering elbow into string 258light fingers (left hand) 120, 234, 235localizing actions 270mental picture 291moving fingers from base joint 239non-vibrato 236reaching back 246relaxed left hand 119repetition practice 280spreading fingers on bow 88, 259, 297tilt of hair 259timing finger and bow 245upper arm, bowing from 258vibrato 134violin angle 299
Elbow (left)left-hand pizzicato 140mobility 299straight line to base joints 301upper arm default position 299
Elbow (right) 262bowing from 257levering in upper half 88, 258
Elementary students 47, 57Energy 4, 126, 215,
245, 270Equalizing� and � 64
drop-outs 27lifting and dropping 9
Evenness 35, 100, 148bow disturbed by left hand 34, 61bow length exercise 68describing sound 48different bowing as model 64, 66sautillé 97scales 141separating bow and left hand viii, 119spiccato 65, 93staccato 90tone exercise 67vibrato 130
Exchange shifts See ShiftingExpressive intonation 212, 214Extensions 206
leading from the base joint 246measuring from adjacent notes 203
notes before and after 206, 213releasing after 232widening by reaching back 246wrist 238
Face 270Fast playing
clarity 27fast and slow intonation 215groups 24, 293height of fingers 115, 298notes dropping out 27speed limit 24speed of shift 172, 298
Feedback 56, 57Fifths
double stop 56, 205, 224interval 204, 209
Finger action See Fingers (left)Finger preparation 240
continuous vibrato 137default 301drop-outs 27, 29, 30fast-finger practice 8first finger 243fourth finger 243scales 243
Finger pressure (left)default 299ghosting 160harmonic-like in shifting 182harmonics 139minimum pressure 140, 230, 235over-pressing in double stops 84pizzicato 140practising non vibrato 236releasing held-down fingers 231stop–release 233, 300thumb counter-pressure 230trilling shifts exercise 183vibrato 130, 298
Fingered octavesreaching back 251, 252scale short-cuts 152
Fingers (left) See also each fingerbase joints See Base jointsblocks 11, 197, 198chords 81, 83contractions in chromatics 149, 186defaults 300dropping
continuous vibrato 137one action 11
energy 4, 243, 245evenness viii, 90, 93, 100, 119, 141fan-like shape 11fast fingers 7, 240feel of 142, 155, 193fifths 224finger accents 242, 285finger action 239fingertip See Fingertip (left)fuzz See Fuzzholding down 193, 231independence from bow 137leading the bow 14, 122, 244, 301leaving fingers down (double stops) 227legato 119, 241, 244legato bowing 137lift-off 8, 193, 270, 300
continuous vibrato 137co-ordination 10fast 10, 240fuzz 123, 240pulling against a resistance 9rhythm 286too early 27, 31, 286
light and effortless 120
light fingers, heavy bow 137like a pianist 193, 301localizing actions 270low 4, 115, 123measuring from imagined fingers 195middle joint 300moving at the last possible moment
7, 8, 10, 36, 300non-consecutive 195, 197ping 7prepared fingers See Finger preparationpressure See Finger pressure (left)reaching back 246, 247, 251relationships between 193, 207, 212releasing 130, 182rhythm 122, 285shape, dropping and lifting 10, 270,
300short 301slow tempo, fast fingers 8space between 300speed 125, 240, 241, 242, 270, 298
speed limit 11square and extended 135, 194squeezing together 250, 300, 301stopping the string, two ways 240stop–release 300tension 290timing 7, 286tip See Fingertip (left)tone–semitone patterns
See Tone–semitone patternsFingers (right) See also each finger
flexibility 253movement in martelé 88placement on bow 84, 297, 302
Fingertip (left)angle of base joints to fingerboard 300elbow position 299one-finger semitones 212space between fingers 300vibrato 115
First finger (left)contact point with neck 237, 238, 301double contact, principle of 301finger preparation 243harmonics, artificial 139localizing actions 270reaching back in tenths 246releasing base joint 183, 230, 231release for fourth finger 230square and extended 135squeezing with second 250, 301vibrato 135
First finger (right)counterbalanced by fourth 303giving at base joint 254martelé 88over-using 254over-working 258placement on bow 297, 302position relative to thumb 259sautillé 97
Five forward three back 16Fixed and movable notes 218Fixing
bow hold, release of 255flexible musical ideas 110tension 272
Flesch, Carl 253, 299Forearm (left)
vibrato 134, 236wrist 238
Forearm (right) 272angle to floor 269elbow against wall 268powered from upper arm 257, 258, 268string-crossing 267
333
Forearm rotationbeginning and ending notes 268definition of 265hand movements 266on one string 269proportions 267rounded gestures 268spiccato 95
Four main factors See Pitch, Sound,Rhythm, Ease
Fourth finger (left)base joint 239extending reach of 250finger preparation 243hand weight 230harmonics 139placement on tip or pad 255reaching back from 246releasing 230squeezing with third 300tilt of violin 299wrist 238
Fourth finger (right)balancing with 255, 297placement on bow 303placement on tip or pad 255playing in upper half 269
Fourthsdouble stop 223interval 204, 206, 209
Friction (bow) 56Fuzz 240
continuous vibrato exercise 137co-ordination 14fast fingers 240, 298, 300trills 123
Galamian, Ivan 153, 207, 253double contact, principle of 301half shifts 186in and out 258practising slowly 1rhythm and accent practice 36
Ghosting See ShiftingGould, Glenn 304Grooving 280Groups
chromatic glissando 191mental command 24, 293rhythmic aiming-points 25, 284staccato 26
Habits 280, 299Hair See Bow hairHand (left) 240
angle of knuckles 237, 250base joints See Base jointsbased on upper fingers 246contracted fingering 149, 186double contact, principle of 301feel of the hand and fingers 153, 155higher and lower placement 238independence from bow 34, 61, 235large 298octaves, position for 72placement 298shape 193, 251small 298tension 251, 252widening at the base joints 246, 252
Hand (right)base joints 302channelling power 256heavier at heel 64independence from bow 34, 235independence from left hand 61responding to bow 69responsive to hair–string contact 67
springs 253string crossing 265, 266tension 90wrist, high and low 266
Harmonicsdouble stops 139finger pressure 139fourth finger 139shifting to 188sustaining without the bow 189
Head 270Hip joint 274
In and out 76, 258Independence
actions 137hands 34, 61, 137, 235
Intermediate notes See ShiftingIntervals See IntonationIntonation
accents 216arpeggios 212arrows 216bow pressure 60checking in other positions 200chords 79chromatic tuner 218diminished seventh 214diminished third 214evenness 141expressive 212, 214fast and slow passages 215feel of the fingers 193holding fingers down 193ignoring sound and rhythm 196insecure 218instantaneous correction 227intervals 210, 217leading notes 207, 214mental rehearsal 291octaves (double stop) 72piano, tuning to 218playing on different strings 202proportions 298relationships viii, 207, 217same notes, different octaves 207starting on different keynotes 201structure 207tempered 214, 215, 218tester notes 207thinking in intervals 193tone–semitone patterns
See Tone–semitone patterns
Knees 274
Leading notes 207, 214, 218Learning, four stages 280Left hand See Hand (left)Legato 7, 57, 134
bowing close to next string 101finger action 241finger preparation 244, 301height of fingers 5, 298practising on open strings 34separate bows 87
Lengthening and widening 272, 274Leverage 89
bow hold in martelé 88elbow (right) 258first finger (right) 302second finger (right) 254spreading fingers on bow 88, 259, 297string-crossing at heel and point 91
Lifted strokes 297. See also each strokeforearm rotation 95rhythm practice 36
Lifting fingers See Fingers (left)
Listening 27, 56, 182, 304Localizing actions 137, 270Loops 16, 278
Martelé 32, 90, 141bite 89designing strokes 88proportions 88scales 144vibrato accents 89
Memoryaccent practice 43accenting and pausing 295adding one note at a time 21association 292aural 292blind spots 296describing phrases 293emotional 294groups 24intellectual 293muscle memory 280note relationships 294practising from memory 292rhythm practice 36tactile 293thinking ahead 294visual 292
Mental commandsgroups 24groups in staccato 26rhythm practice 36
Mental picturecommand–response 36mental rehearsal 290rhythm practice 36shifting 157thumb 229using a model 126
Mental rehearsal 290Metronome viii, 2, 24, 37, 92, 118, 141Milstein, Nathan 2Mind-muscle unit 36Minimum effort 43Models
chromatic glissando 192double stops 227evenness of spiccato 65reversed bowing 64slurs for simple détaché 87spiccato for staccato 91tone 53, 181trills 126up-bow attacks 64vibrato 135, 138
Momentum 301Mona Lisa 297Moses variations, Paganini 299Mozart, Leopold 289Muscle memory 280Muscles
active and passive 272contracting 252, 272counter-exercising 272fatigue 272localizing actions 270mind-muscle unit 36muscle memory 280responsiveness not strength 36training mind, not muscles 291
Neck 43, 159, 271, 272, 273
Octaves (double stop) 56upper and lower finger 72
Overlappingbowing 119co-ordination 14
334
shifting viii, 179spiccato 180string-crosssing 102fingers (left) 136, 243
Overtones 56Over-working 134, 240, 256, 258, 265
Perfect intervals 209, 210Performance practice 304Perlman, Itzhak 207, 304Ping 7, 8, 56, 240Pitch–sound–rhythm–ease 2, 36, 43,
141, 275, 280, 291, 292Pivoting
chords 78string-crossing 101, 103, 302
Pizzicato (left hand) 140Playing-through practice 304Point of contact See SoundpointsPoint-of-balance 82, 257Portamento 163Posture 272, 274, 291, 299Pressure See Bow pressureProgress, fastest viiPronation 88, 89, 269, 302Proportions
analogy of photograph 188bow division, chords 83collé-spiccato 96Da Vinci, Leonardo 297describing sound 48détaché 87enlarged musical design 296forearm rotation 267height, length, soundpoint 94intonation 298lifted strokes 99, 297shift speed 172, 298shifting and soundpoint 59speed, pressure, soundpoint 47, 51, 59,
96, 130spiccato 50, 93, 94, 96
contrasted with ricochet 99string-crossing at heel and point 91strokes 88tone production 297trills 123vibrato 123, 124, 298
Psychological up-beats 282Pulling down 270, 272
Releaseaccent practice 43between fingers 231first finger base joint 230fourth finger 230martelé 90reaching back 250shifting 182stop–release 233, 300using spiccato 236vibrato 130without chin on rest 271
Repetition 200, 280Resistance, line of least 57Resonance 61, 91
background 56pizzicato 140
Rhythmaiming-points 242, 284dotted patterns 287evenness 141fast lift-off 286finger accents 285fingering without bow 122left-hand pizzicato 140lifting off too early 286playing the dot or tie 289
playing the rest 288psychological up-beats 282rhythm practice viii, 36, 274rhythmic pulse 177, 282shortened notes 288subdividing 282, 284timing shifts 177timing trills and turns 123, 126triplet patterns 261
Rhythm practice viii, 36, 274Ricochet 99, 100, 254Right hand See Hand (right)Romantic shifts See Shifting
Sautillé 145, 254area of bow 99bow hold 302contrasted with spiccato 97curved motion 98fingers like a pianist 301hair, amount of 99legato slurs 97unrestricted by fingers 97
Scales 177, 183, 193, 276bowing patterns 143chromatic 146, 149, 186evenness 141finger preparation 243fingerings 144improvising 148mental rehearsal 291preparatory exercises 150structure of intonation 210tone–semitone patterns 197vibrato 142
Scrollheight 57, 270, 299shaking 183, 290
Second finger (left) 246, 250Second finger (right)
leverage 254placement on bow 303position relative to thumb 259
Semitonesnot too narrow 212shifting 158, 212wide and narrow 214
Seven levels of the bow 105Sevenths See Intonation
dominant/diminished arpeggios 147Shifting
areas of resistance 159balance of hand on finger 153beginning shift 160classical shift 160, 165, 169combination shift 165, 169comparing feel of adjacent notes 157comparing with different finger 156co-ordination with bow 179, 301drop-outs 27end shift 163exchange shift 166fast–slow 172, 298fingers close to string 6ghosting 160, 163, 172, 182half-shifts 186heavy slides 156, 182Heifetz shift 172intermediate notes 154, 160, 170, 203isolating 186light fingers 115, 162listening 57long 59memorizing feel of position 153no ‘shift’ 160overlapping viii, 179portamento 163pulling down during 270
releasing hand and fingers 182romantic shift 163, 165, 169semitones 158, 212slow arrival speed 172, 298speed 172, 298substitutions 159timing 175trilling 16, 150, 183weight of head in chin rest 271
Shoulder rest 299Shoulders 43, 270, 290
shoulder blades 272, 273, 274tension 271
Sight reading 110, 291Singing, imagining 181Sitting 274Sixths (double stop) 147, 151
third tone 218tuning single stops 220
Slow tempo, fast fingers 8Soundpoints viii
chords 78default 302describing 48high-position passages 51proportions 47, 50, 51, 297short string length 59
Speed See Bow speedSpiccato 97, 145, 147, 299
area of bow 96bow hold 302collé-spiccato 96contrasted with ricochet 99contrasted with sautillé 97co-ordination 95evenness 65, 93fingers like a pianist 301for releasing left hand 236hair, amount of 94height 115length of bow 99listening 56model for staccato 91overlapping bowing 180playing without first finger 254proportions 93, 94, 96rhythm practice 36soundpoint 94, 96speed of bow 96
Spine 270, 272, 274Sport 290Square and extended See Fingers (left)Staccato 32, 97
co-ordination 90curved stroke 92evenness 90groups 26leverage 91saving bow 91, 115spiccato as a model 91too-late string crossing 92
Standing, playing sitting or 274Stature 111, 117, 270Stern, Isaac 294String
angle to floor 57bow change 57bow weight 54, 59elasticity 297friction 56give 54length 7, 51, 59, 72, 298, 301levels 262, 267moving towards bow 270physical properties of 58sympathetic vibrations 56tension 47, 57, 78, 94vibration 7, 47, 57, 125, 240, 241, 301
335
String crossingaccented 302awkwardness 262clicks 83clockwise, anticlockwise 34continuous 105drop-outs 27forearm rotation See Forearm rotationhair and string contact point 83, 106hand movements 266looking at the hair and strings 101one action not two 108overlapping See Overlappingover-working 265pivoting See Pivotingplaying as double stop 122pulling down during 270resting elbow against wall 268smooth or accented 100, 101staccato 92timing 101upper arm 265, 268wide 108
Strokes See Bow strokesSubdividing 282, 284Substitutions 150, 151, 152. See Shifting
exchange shifts 166Supination 269, 302Surface noise 56Sympathetic vibrations 56
Tapping 239Technique
definition of 299expression and mechanics 123serving music 181
Tempo 43clarity 27effort 245intonation 215practising at performance tempo 2practising slowly 1proportions 297slow tempo, fast fingers 7slow, exaggerating expression 296, 305slow, sustained 115speed limit 11speed of shift 172speeding up with metronome 2spiccato 98
Tension ix, 280bow hold 302counter-exercising 272fingered octaves 251fingers moving from base joints 300forearm rotation 269light fingers in double stops 84localizing actions 270martelé 90mental commands 270mental rehearsal 290pressing with chin 271releasing between strokes 90, 97right-hand flexibility 253shifting 159thirds (double stop) 251thumb (left) 229, 301thumb (right) 297wrist (left) 238
Tenths (double stop)playing in other positions 201reaching back 246, 249tones and semitones 228
Third finger (left)harmonics 139moving from base joint 239square position 194
Third finger (right)placement on bow 255, 303pulling in 255
Third tone 218Third, diminished See IntonationThirds (double stop) 70, 146, 150
blocks 222bow weight 60intervals between 221large and small distances 221reaching back 251, 252six most common pairs 221tension 251third tone 218tone–semitone spacing 221tuning single stops 220using the perfect fourth 223
Thumb (left) 183contact point with neck 301counter-pressure 230default position 301localizing actions 270minimum effort 235, 236rolling 229shifting 159shock absorbers 290squeezing with first finger 229three joints 229
Thumb (right)counter-pressure 297opposition to first and third 255placement on bow 254, 302
Timing, technical and musical 89Tone production
articulation (left hand) 7bow change 57bowing too near fingerboard 57colour 47, 302describing 48fat and thin 259finger preparation 301first finger (right) 254flat or tilted hair 89, 259fourth finger (right) 255friction 56high positions 181length of string 297non-vibrato 133octaves 72ping 7pressure See Bow pressureproportions See Proportionspulsing 54resonance 56soundpoints See Soundpointsspeed See Bow speedspeed not pressure 302third finger (right) 255tight, pressed 254tilt of violin 299widest possible string vibration 47wood scraping on string 259
Tone–semitone patterns 196, 197, 198,216, 221, 222, 295
Tremolo 73, 115Trilling shifts 16, 150, 183Trills
bow change 127fuzz 123, 125height of finger 115, 118, 298models 126one active movement 123practising without 123proportions 123turn 126vibrato, likened to 123
Triplet patterns 261
Tuning the violin 56Two-thirds–one-third–two-thirds 113
Upper arm (left)counter-exercise 273default position 299localizing actions 270minimum effort 235, 236mobility 299tension 159
Upper arm (right)bowing from elbow 257in and out 258over-working 265rotation 265string crossing 262, 267strokes directed from 257, 258, 262,
268tilt of violin 299vertical movement 257
Végh, Sándor 130, 255Vibrato
accents 43, 52, 89, 138, 242background vibrato 136, 142complete cycle, description of 128continuous 136, 137default 301dotted rhythm 130double contact, principle of 301double-stop rhythms exercise 133even 130fast 115fast–slow 52, 134finger pressure 130fingertip placement 115, 129first finger 135hand 257holding down fingers 136inspiration 134mental rehearsal 290models 135non-vibrato 130, 133, 236one active movement 123over-wide 130pitch 128, 130proportions 134, 298pulses 130range 134releasing string 130rolling on fingertip 128scales 142slow 130speed 118, 134, 298tendencies of certain fingers 135track 128wide–narrow 52, 134width 115, 129, 134, 298without expression in bow 133wrist, definition of 257
Violinangle of strings to floor 57tilt 299
Warming up 304Wrist (left) 183, 235
arm length 301localizing actions 270pushing out 238, 250, 301tension 159
Wrist (right)high and low 266supporting in upper half 256
336
Index of music examples
Movement 2, bar 303
3
3 3
3
0 1
3
3 3
0
3
0
3
71
Movement 2, bar 143
3
2 1
33 3
4
11
3
1 3
213
Movement 2 [Andante], bar 52 4 3
1
3 3 3 3
3
3
161
2 4 4 0 2 3 2
Movement 1, bar 44
Bach, Johann SebastianConcerto no. 1 in A minor, BWV 1041
2
1
1
1
1
1
194
Movement 1, bar 126 58
1
1 1 1 0 4
4
0
0 3 22 4
4
2
2
1
1 1 00
0
Movement 1 [Allegro], bar 1 288
Concerto no. 2 in E, BWV 1042
Movement 1, bar 12 12
Movement 1, bar 53 15
Movement 1, bar 57 268
Movement 1, bar 95 219
Movement 3 [Allegro assai], bar 1 209
12Movement 3, bar 113
Corrente, bar 11
4
4
114
Allemanda (Double), bar 60 1
3 21
2
217
Allemanda, bar 1
Partita no. 1 in B minor, BWV 1002
3266
1
42
2 0
1
3
2
4
2
40
82Sarabande, bar 1
Bourrée, bar 1 196
Giga, bar 37
10
2
12 1 0
2295
3
Giga, bar 19
1 1
44 4 4
65
1 2 2 3 0 1 2
Giga, bar 17 194
0
4 0
0
2
0 1 1 0 4
Giga, bar 6 45
00
0
1
0 1 0
0
41
Giga, bar 1 212
0 0 43
2
1
2
Sarabanda, bar 5 102
1 30
0 4
Sarabanda, bar 1 60
3
3
0 1 0
Corrente, bar 7
217
2 41 4 0
41
3 3
1
0
Allemande, bar 14
41
4 0 1 4
2
Allemande, bar 6 153
Partita no. 2 in D minor, BWV 1004
Ciaccona, bar 1273 3
0
0
0
0
82
Ciaccona, bar 334 0
106
Ciaccona, bar 13
1 0
0
4
3 3
279
Ciaccona, bar 1 78
Index of music examples306
Ciaccona, bar 187
1 3
24
21 2 3
1
228
Ciaccona, bar 133
4
2
4
1 1
3
4
4
2
73
Giga, bar 1
4 0
0
1
138
2
Gavotte en Rondeau, bar 511 2 3 3 2 1 1 4 4
44
32
Gavotte en Rondeau, bar 6 255
Preludio, bar 1190 4
31
Preludio, bar 49
3 3 2 41
75
Preludio, bar 384 4
266
Preludio, bar 364 1
0 0 1 1
39
Preludio, bar 17
2
0
2 4 2
0 034
Preludio, bar 7
0
0 01
178
Partita no. 3 in E, BWV 1006
Preludio, bar 3
4 0
105
Fuga, bar 2113
2
31
2 1
2
1 1
23
83
Fuga, bar 3 85
Adagio, bar 6
0 4 04
04
262
Adagio, bar 3 216
Sonata no. 1 in G minor, BWV 1001
Adagio, bar 1
3
82
Presto, bar 75
30 0
286
Presto, bar 120
1 0 108
Presto, bar 4
0 3
0 3
2 0
4 0 3
241
Presto, bar 1
0 4
50
Siciliana, bar 1
2 2 3
2
G 2
158
Fuga, bar 58
2 3
2
2
1
83
Fuga, bar 29
1 2
2
4
1 1
81
Sonata no. 2 in A minor, BWV 1003
Fuga, bar 7 780
1
2 34 2
1
4
No. 6 [Allegro], bar 41
sempre
1 2 1
93
No. 4, bar 19
0 02
3
1
76
No. 4 [Molto moderato], bar 3
molto espr.
2
sul A
3
1
3
3
233
No. 3 [Andante], bar 4
14
03
139
No. 1, bar 12 77
Bartók, BélaRoumanian Folk Dances (arr. Székely)
No. 1 [Allegro moderato], bar 4
2 1 2 3
236
Beethoven, Ludwig vanConcerto in D, op. 61
Movement 1 [Allegro ma non troppo], bar 97 193
4 0 4 04
0 4 4
Index of music examples 307
Movement 3, bar 1394
2
0 4 4
215
Movement 3, bar 137
0
0 1
19
Movement 3 [Rondo], bar 753 1 3
30 0
34
Movement 2 [Larghetto], bar 45
1
cantabile 3 0
D3
1
115
Movement 1, bar 335
2
1
4 31
1622
Movement 1, bar 209
2 1 1 2 2 2
123
Movement 1, bar 176
0
4 3
0 0
30
0
4
0
4
0
289
Movement 1, bar 174
0
4 01
4 67
Movement 1, bar 139
1 32 1
4 4 0 0 340
Movement 1, bar 1344
14
0 1
253
Movement 1, bar 128
4
2 2 2 186
Movement 1, bar 111
3 1 2
4 213
bar 744
dimin.
0 1 1 2 2 3 4 00 1
214
bar 682 1 0 4 0
32
87
Romanze in G, op. 40
[Andante], bar 20 161
4 0 1 1
bar 56 76
4 0 1 1 2
Romanze in F, op. 50
[Adagio cantabile], bar 1 135
dolce
12
31
bar 771
21
2
175
bar 58
3
4 11 2
282
bar 29 1 4136
4 31 2
bar 28 22
cresc.
2
3 3 33 0 2
bar 24 111
2 0 3A1 1
bar 4 127
23 1 2 2
bar 2 178
Movement 3 [Allegro], bar 10 270
1
2
1
41 0 4
1
4
22
Movement 2 [Andante con moto], bar 8 170
4
23
1 3
cresc.
3 4
Movement 1, bar 81 74
2 1 1 23
4
Movement 1, bar 32 256
01 1
3 4
0
3
Movement 1 [Allegro con brio], bar 1 203
Sonata in D, op. 12 no. 1
Movement 1, bar 18 196
Movement 1 [Allegro con spirito], bar 8 285
Sonata in E , op. 12 no. 3
3 2
1 cresc.
12
cresc.
Movement 1 [Presto], bar 84 248
Sonata in A minor, op. 23
3
13
3
1
4
Index of music examples308
Movement 3 [Allegro molto], bar 18
0 01
4
cresc.
0 01
1
Movement 1, bar 1063
3 3 3 3 3 3 3
231
Movement 1, bar 631
95
Movement 1, bar 33
cresc.
3 3 2 2
decresc.
134
Movement 1, bar 11
0 0 0
267
Movement 1 [Allegro], bar 1
Sonata in F, op. 24 (‘Spring’)
3 4 3
202
Movement 1 [Allegro], bar 3 102
Sonata in A, op. 30 no. 1
2 1 1
Movement 3, var. 6, bar 67 126
1
dolce
1
D1
2 4 3
2
Movement 3, var. 2, bar 1 168
dolce2
2
Movement 3 [Allegretto], bar 1 284
1 12
2
Movement 1 [Allegro assai], bar 1
Sonata in G, op. 30 no. 3
1
193
Movement 4 [Allegro], bar 18
2
cresc.
1
decresc.
3
158
Movement 1, bar 76
22
1
4A
3
cresc.
205
Movement 1, bar 551
cresc.
1
34
Movement 1, bar 22
2 1
1
84
Movement 1 [Allegro con brio], bar 9
Sonata in C minor, op. 30 no. 2
33
212
Movement 1 [Allegro moderato], bar 2
Sonata in G, op. 96
dolce 2 1
3
239
Movement 1, bar 314
cresc.
0 0
0 4
0 1
2
1
102
Movement 1 [Presto], bar 61 247
Movement 1 [Adagio sostenuto], bar 1
Sonata in A, op. 47 (‘Kreutzer’)
DA 2
413
13 2
3
23
1
132
Movement 1, bar 31
1
4 3 32 4
2011
1
ad lib.0
14
0 1
1
Nigun (no. 2 from ‘Baal Shem’)
[Adagio non troppo] bar 5
Bloch, Ernst
2 2 1 31
204
bar 803
0
0 3 0
3
0 3 0 3 0
3
0
100
[Tempo di Bolero] bar 70
Scène de Ballet, op. 100
2
6 6 6
2
6
0
4
Movement 1, bar 37
3 3
226
Movement 1, bar 62
1
3 3 3 3 3 3 3 3 3 3
29
Movement 1, bar 57
cresc.
8va187
Movement 1 [Allegro maestoso], bar 38
Concerto no. 9 in A minor, op. 104
Bériot, Charles Auguste de
2 3
1 2 1 2 3 4
0
284
bar 22 27
Index of music examples 309
bar 100
13
13
3
42
3 3
accel.
31
42
3
31
42 3
allarg.
13
3
0
227
bar 53
24
1
42 1
441
42 4
1 30 3
72
bar 373
0 4 20 2 1 3 3
G
3
172
31
8va
31
0 1 1
8va
1
3 3
bar 35 23
Movement 1, bar 217
0
1
31
4 21
40 3 1
42
249
3 1
A
1
Movement 1, bar 204 200
dolce
2
0
2
1 1
Movement 1, bar 152 104
dim.
4
1
4
3
Movement 1, bar 116 176
4
01
01
dim.
4
3 0 14
3 0 3 0 2
Movement 1, bar 102 46
0
42 0
0 1
Movement 1, bar 91 88
02 5
5
1
Movement 1 [Allegro non troppo], bar 90 235
Concerto in D, op. 77
Brahms, Johannes
1
1 02 2
1 0
2 2 2
0
2
Movement 1, cadenza (Joachim)
dolce
2
D31
31
2 31
0 31 poco rit.
1 31
296
Movement 1, bar 304
3poco espress.
1 1
34 2
323
42
1
174
Movement 1, bar 2482
1
2 2 21
4
24
1
281
Movement, 1 cadenza (Joachim) 128
DG
Movement 3, bar 35 154
1
3
2
31 3
131 3
131
Movement 3 [Allegro giocoso, ma non troppo vivace], bar 1 252
poco a poco cresc.
3
espress.
3 2 2 1
3
3
3
3
3
2
Movement 2 [Adagio], bar 91 114
43 1
3 03
4 32
Movement 1, bar 561 185
animato42 2
413 2
4 13
43 1
3 30 2
Movement 1, bar 559 234
0 0 0
4
Movement 1, bar 495 259
Movement 3, bar 292 180
2 2
22 2 2
Movement 3, bar 262 51
13 2
41
41 4
1 23
Movement 3, bar 65 54
01 1 1
20 1
24
Movement 3, bar 55 215
3
0
6
40
0 21
Movement 3, bar 37 35
Movement 1, bar 11 283
13
3
1 2 2 1 4 2
Movement 1 [Vivace ma non troppo], bar 3 5
Sonata no. 1 in G, op. 78
13
espressivo
13
24
02 1
3
bar 25 124
2espressivo 1
[Allegro molto] bar 1 69
Hungarian Dance no. 1
Index of music examples310
Movement 3 [Allegro molto moderato], bar 1 86
cresc.
4
Movement 3, bar 101 33
2 2 2 4 1 4 3
dolce
3
42
43
4
2
Movement 2, bar 105 244
1
espress.
32 1
Movement 2 [Adagio], bar 66 234
A 1
4
1
4Movement 1, bar 24 75
Movement 1, bar 235
1
43
1
204
Movement 1, bar 211
12 1
3
12
169
Movement 1, bar 434 3
1
dim.
2
118
Movement 1, bar 412
4 3 1
165
2
Movement 1, bar 31 64
4 2
4
31
Movement 1, bar 21 131
4 4 0
Movement 1 [Allegro amabile], bar 3 61
Sonata no. 2 in A, op. 100
Piano:Piano:
Movement 2, bar 56
21 1 cresc.
3
21
288
3
0 1 22
1
Movement 2 [Vivace], bar 27 175
2
dolce
1
espress.
1
Movement 2 [Andante tranquillo], bar 8 287
1 1
Movement 1, bar 249 112
Movement 3 [Allegretto grazioso, quasi Andante], bar 5 164
3
ma espress.
1 2
1
4 2 1 2 2
Movement 3, bar 48 136
2 1 1sul G
3 2 1 3
pizz.
1 1
Movement 2, bar 121 214
Movement 1, bar 151
1 13
268
Movement 1, bar 1203
0
4
2
4
3 2 4E3 2 0 2
122
Movement 1, bar 84
e sotto voce sempremolto
0 0 0 0
42 3
0 00 0
0 2
106
2 13
dim.
01
Movement 1, bar 81 200
0
espress.
Movement 1, bar 61 68
4
G2 3
Movement 1, bar 57 157
1
sotto voce ma espressivo
22
Movement 1 [Allegro], bar 1 51
Sonata no. 3 in D minor, op. 108
0
Movement 4 [Presto agitato], bar 9 28
Movement 2, bar 50 133
3 0
11 3
42
42
31 1
234
23
13
12
Movement 3 [Un poco presto e con sentimento], bar 1 256
3
1 3
4 13
24 2
4
G
espress.
3 4 1G
1 2
Movement 2 [Adagio], bar 1 55
3
43
11
Movement 1, bar 162 264
Index of music examples 311
bar 28 741 1 4 1 3
dim.
1 1
3bar 18 159
1 1 11 2
bar 14 95
2 2 1
2bar 8 116
2
[Allegro] bar 1 53
Scherzo (Sonatensatz), WoO2
1 2 2
Movement 4, bar 297 115
0 2 2
4
3
4
3
Movement 4, bar 107 38
espressivo
3
largamente
3
3
3
3
1 3
3 3 3
1
Movement 1, bar 37 117
Movement 1, bar 34 79
31
Movement 1, bar 24 170
71
Movement 1, bar 18 285
1
marcato
Movement 1, bar 16 64
3
A
1
1Movement 1, bar 10 3
ad lib.
0 1
1 1
Movement 1 [Allegro moderato], bar 6 111
Concerto no. 1 in G minor, op. 26
Bruch, MaxMovement 1, bar 148
2
ad lib.
0 1
41
290
Movement 1, bar 98
0 0
1A 2
sempre cresc.
13
12
104
1
Movement 1, bar 90
0
string. poco a poco
1 2 3 4 0
12 4 0 1 1 2 3 1 1 1
149
Movement 1, bar 89
47
6 1
278
Movement 1, bar 88
6
0 3 6 3 6 4
285
Movement 1, bar 86
4
6 6
135
Movement 1, bar 79
21
E4
1
3
167
Movement 1, bar 76
11 2
3
4 31 3 1 4
5
0 4
2
208
127Movement 2, bar 452
0 0
cresc.
01
3pesante
3
1
3
1
3 2 21
1
Movement 2, bar 17 158
3 3 2 1G1 2
Movement 2, bar 11 86
1 3 0
3
1
2
0 1
2
3
Movement 2, bar 6 134
cresc.
2
sul D2 1 3
Movement 2, bar 3 161
cresc.3
2sul DMovement 2 [Adagio], bar 1 173
0 0 11 1
3Movement 1, bar 152 21
espressivo
Index of music examples312
Movement 3, bar 44 260
12
au talon
32 1
2
23
3
12 1
2 23
Movement 3, bar 42 226
Movement 3, bar 40 219
0
3
43 1
3
1
0
3
2
1
2
Movement 3, bar 32 265
3
0
13 4
0 13
Movement 3, bar 27 27
2
3
1
3
2
Movement 3, bar 25 162
31
3
31 3
1Movement 3 [Allegro energico], bar 19 223
4
6
0
6
0 2
42
Movement 2, bar 52 32
3
espr.
2 3 13 3
1E4
Movement 3, bar 193
sempre
31 1
3
21 1
212
226
Movement 3, bar 189
34 3
3
85
Movement 3, bar 115sul G
7
1 1 2 con forza 3
61
Movement 3, bar 94
con fuoco
2
0 3 0
4
257
Movement 3, bar 55
31 3
1 24
23
32
41
41
228
Movement 3, bar 237 51
Movement 3, bar 321 120
con fuoco
3
33 3
3 0 2 01
1 3
E
30 0
02
Movement 3, bar 267 242
3 0 01 1
E
3
Movement 3, bar 265 75
Movement 4 [Allegro guerriero], bar 11 81
Introduction [Grave], bar 21
Scottish Fantasy, op. 46
124
Movement 3, bar 44 230
1 1 0
31
espress.
42 0
213
21
1 1A1
1 1
Movement 3 [Andante sostenuto], bar 22 39
7
1 1
6
42 3
0 2
0 3
2
Movement 2 [Allegro], bar 31 277
G3
3
2
17
0
11 1
Introduction, bar 37 3
1 2 2 rit.
13 3
2
bar 73 73
bar 34 [Lento e misterioso]
Chausson, ErnestPoème, op. 25
181
3
4 1
2
3
2
41
2
3
2 2
posato
13 2 2
1
3 2 2
1 1
2
3
1
1bar 69 266
3 3
2 3 31
bar 65 76
3 3D1 3 2
Index of music examples 313
bar 298 [Allegro] 23
2 6
11
3
24
3
40
40
3
bar 177 9
3 23
13
3
2 2
342
bar 176 13
3 3
41 1
1
1
8va
2 34
2
bar 151 3
4A2
9
31
3 2
bar 121 [Animato] 260
2
1 cresc.
4 2
1
2
3 24 1
1
bar 87 80
Movement 1 [Adagio], bar 1
Corelli, ArcangeloLa Follia, op. 5 no. 12 (arr. Léonard)
48
2
espressivo
Movement 1 [Allegro vivo], bar 46
Debussy, ClaudeSonata
155
0 1
11
1
2 2
Movement 3 [Très animé], bar 106 184
1 0 4 1 0 4
4 2
1
No. 3, bar 9 158
Dont, Jacob24 Etudes and Caprices, op. 35
4 3 1
1 1
4 4
4
No. 3, bar 4 251
sim.
10
4 4
21
4
0
2
1
1
2
0
No. 1 [Prélude], bar 1 80
No. 17 [Allegro], bar 1 176
2 1
0 0 1
1A 4
E
0 2
1A 3
E
0
1
2 1 1
No. 14 [Allegretto commodo], bar 1 178
1
1 3
1
No. 13 [Vivace assai], bar 19 281
1
1
4 3 4 4 3 4 4 3 4 4 3 4
1
No. 5 [Allegro appassionato], bar 13 232
13
1 1 1
3
No. 4 [Allegro scherzando], bar 1 279
Movement 1 [Allegro risoluto], bar 1
Sonatina in G, op. 100
3
52
bar 81
0
5
0 4 0
cresc.0 5
12
22
bar 581
21 1
118
bar 394
4154
bar 31
1 2 3
2 200
bar 24 [Andante con moto]
Romance, op. 11
D
molto espressivo
2 2 3
174
Movement 1, bar 22
3
3 3
30 4 1
5129
Dvorák, AntonínConcerto in A minor, op. 53
Movement 1 [Allegro ma non troppo], bar 5
20
3
42 3
1
1 20
2
(molto vibrato)1 2
0cresc. 0
3
2 36
0 2 0
236
2
Index of music examples314
Movement 3 [Allegro, non troppo], bar 40 161
1
cresc.
2
3
5 4 40 1 1 4
Movement 2 [Andante], bar 31 41
tranquillo
espress.
0
Movement 1, bar 68 103
con forza
4
simile
11
1
Movement 1, bar 9 66
0 4 1 2
Movement 1, bar 2 115
risoluto
4
Movement 1 [Allegro], bar 1 107
Sonata in E minor, op. 82
4 sonore 2 1 3 2
bar 30 50
2 3
bar 9 [Allegretto] 172
Chanson de Matin
Elgar, Edward
Movement 4, bar 205
4
44
42
Movement 4 [Allegro quasi presto], bar 47
24
11
165
Sonata in A, op. 13
Movement 3 [Allegro vivo], bar 44
e leggierissimo
1
10
Danse espagnole (arr. Kreisler)
Falla, Manuel de
0 2A 8va
1
bar 163 93
2
sul G
[Molto ritmico] bar 118 264
Movement 2, bar 293
1
244
Movement 2, bar 20sul G
3 3 3 33 2 3 3
214
Movement 2, bar 16sul G
1 11
200
Movement 2 [Allegro], bar 14sul G
1 1 1
174
Movement 1, bar 57
1D4 2
170
Movement 1, bar 28
1molto cresc.
2
molto rit.a tempo
283
Sonata in A
Franck, César
Movement 1 [Allegretto ben moderato], bar 5
1
molto dolce 3
130
Fibich, ZdenekPoème
[Andante], bar 12
2 311 1 1 4
2
34 3
221
24 0 2
164
1 12
2 3 1 3 1
Movement 2, bar 1534
2
2
171
Movement 2, bar 134D
poco a poco cresc.2
G2 2
173
Movement 2, bar 112
molto fuocoso
0 2 41 3 1 114
Movement 2, bar 99
4
2 2214
Movement 2, bar 95
0molto cresc.
4
112
Movement 2, bar 32
molto cresc.1 2 3 0
64
Movement 2, bar 172 62
Index of music examples 315
sempre
3
e grandioso
8vaA2
3 3 A2
3 3
Movement 4, bar 162 113
2
dolce cantabile
1 1
Movement 4 [Allegretto poco mosso], bar 2 211
1 4 1
Movement 3, bar 59 205
1
5
1 3 3
Movement 3, bar 48 184
2 23 2
2 1
con fantasia
Movement 3 [Ben moderato], bar 4 77
0 2
1Movement 2, bar 225 72
1
poco cresc.
3 1 1 3 3 3
dim.
1 1
Movement 2, bar 197 133
Movement 3 [Allegro animato], bar 2 96
Movement 1, bar 254
2 0
1 2 1183
Movement 1 [Allegro molto e appassionata], bar 1
2 440
68
bar 55
2
3
3
poco più mosso
03
6
1 0 2
285
bar 481
2 2163
Danse espagnole (arr. Kreisler)
Granados, Enrique
bar 32 [Andante]
21 3 3
200
Glazunov, AlexanderConcerto in A minor, op. 82
bar 32 [Andante]
dolce espressivo
3 1 1
55
Sonata in C minor, op. 45
Grieg, Edvard
0
Movement 2, bar 300 0 0 4 4 0 0 0
20
38
Movement 2 [Allegro], bar 24
0 4 0 4 0 0 02
03
0 1
37
Movement 1 [Affettuoso], bar 1
Sonata in D, op. 1 no. 13
Handel, George Frideric
0 0
2 0 1 3 0
282
Movement 3, bar 192
3
1 2 4 0
1 2 1 2 3 4
molto
0 1 2 1 2 3 1 2 3 1 2 304 149
Movement 1, bar 310 4 0 0
4 4
87
Movement 1 [Allegro moderato], bar 21
Concerto no. 2 in G
0
3
0
289
Movement 1, bar 1313 2 1
2 1
123
Movement 1, bar 70
10
3 3
cresc.
3117
Movement 1, bar 53
1
cresc.
220
Movement 1 [Allegro moderato], bar 40
Concerto no. 1 in C
Haydn, Joseph
0
3 3
223
No. 1 [Allegro moderato], bar 3
Etudes, op. 20
Kayser, Heinrich Ernst
0 0 0
0 0 0
247
[Allegro molto], bar 49
Bolero, op. 51 no. 3
Hubay, Jenö
3
3
2 2
31
Index of music examples316
4 44 4
44 4 4
No. 32 [Allegro molto agitato], bar 1 185
00
No. 14 [Allegro moderato], bar 1 88
30
4 0
1 3
43
0 4
No. 13 [Allegretto], bar 1 275
4cresc.
simile
4 0 4
No. 9 [Allegro assai], bar 1 258
0 0 4 4 0 4 4
No. 8 [Comodo], bar 1 136
3
No. 6 [Allegro molto], bar 1 235
0
0 0
0 4
No. 3 [Allegretto], bar 1 261
Allegro, bar 41
20
0
3 1
296
Allegro, bar 250 4
04 4 4
A4
278
Allegro, bar 50 4 0 0
0
2
Allegro [Allegro molto moderato], bar 3
4 0
0 4
0 4 1 1 1 0
14
Praeludium [Andante], bar 23
3 2 0 4 0 0
137
rit.
30 1
13
02
2
Andante
3
Praeludium [Allegro], bar 21 52
Praeludium and Allegro
44
11
1
bar 100, [Presto] 172
dolce con vibrato
13
13
13 1
313
bar 21, [Andante con moto] 132
Caprice Viennois, op. 2
Kreisler, Fritz
Theme [Allegro ma non troppo], bar 1
Variations on a theme of Corelli
281
Rigaudon [Allegro], bar 1
2 4 0 4
209
Sicilienne [Tempo di Allegretto], bar 1
Sicilienne and Rigaudon
2
2 1 2
289
Allegro, bar 101
2 1 1 1 3 1
3 rit.
17
Allegro, bar 84
0 1
264
Allegro, bar 53
4 03
40 3
4
4
0 1
35
0 0
No. 9 [Allegro moderato], bar 12
dolce
4
238
No. 8, bar 2
4
1
179
No. 8 [Allegro non troppo], bar 10 0
118
No. 6 [Moderato e sempre martellato], bar 14 0
89
No. 5 [Allegro moderato], bar 12
0
193
No. 4 [Allegro], bar 7
0 0
0
0
0 00
92
No. 2, bar 164
1 1
4
0
205
No. 2 [Allegro moderato], bar 1
42 Etudes ou caprices
Kreutzer, Rodolphe
0 0 4 4
86
No. 10 [Allegro], bar 1 71
Index of music examples 317
No. 27 [Moderato], bar 1
04
0
237
No. 26, bar 34
1
4
1 1
4
1 1
4
1 1
4
1
249
No. 26 [Moderato], bar 2
1
1179
No. 19 [Moderato], bar 1
3 3 3 3
126
No. 17 [Maestoso], bar 1 108
4
dolce
0
4
0
No. 14 [Moderato], bar 1 267
0 0
4 0 01
23 4
1 1 34
0
No. 12 [Allegro moderato], bar 1 195
0 0
4
0 2 0
4 A3
0 2
No. 10, bar 3 107
No. 32 [Andante], bar 1
1
3
4 4
2
4
1
1
250
No. 31, bar 5
23
13 4 1 2
3
58
No. 31 [Vivace], bar 1
3 4 0
126
No. 30, bar 11 30
No. 30 [Moderato], bar 1
0
1 41 1
109
No. 29, bar 19
13 1 3 1 3 1 3
195
No. 29 [Moderato], bar 1
0 1 2
1
2
116
No. 28 [Grave], bar 1
20
34
1
269
Movement 1, bar 9
G
3
3 3
3
32
4
188
Movement 1 [Allegro non troppo], bar 5
Lalo, EdouardSymphonie espagnole, op. 21
1
molto ritmico
11
8va3 3 4
2 4 3
213
3
No. 39 [Allegretto], bar 1
1
dolce3
1
3 4 4
219
No. 38 [Moderato], bar 12
4
225
No. 37 [Allegro vivace], bar 1
1
224
No. 36 [Allegretto], bar 1
1 4 34 1
255
No. 35 [Marcia], bar 7
42
31
42
31
42
15913
0
3
gliss.
1
espress.
poco più lento
1
Movement 2, [Allegro molto], bar 102 130
sempre cresc.
21 1 2
1 1 13
Movement 1, bar 245 186
1 0
4 2 4
2
1
13
8va
43
Movement 1, bar 153 184
24
2
3
4
4 3Movement 1, bar 120 60
30
0 0 1
pesante3
31
Movement 1, bar 66 90
5
0 1
espress.3 3 3 3
13
Movement 1, bar 50 113
11 1
8vaMovement 1, bar 37 18
Index of music examples318
Movement 1, bar 39G
3
E2 0
3157
Movement 1, bar 36
sul Gcresc. 4 4 4 4
2 0
1973
Movement 1, bar 25
21 1 1 2
1
175
Movement 1 [Allegro, molto appassionato], bar 14
Concerto in E minor, op. 64
Mendelssohn, Felix
2 1
2
43 3
8
[Andante religioso] bar 28
Méditation from Thaïs
Massenet, Jules
3
40 4 3
4
189
Movement 3, [Allegro non troppo], bar 813
2 2
0
253
Movement 1, bar 139 66
1
tranquillo
1
restez
2G 4
A
21 3
11
3 43 1 3 2 4
Movement 1, bar 113 103
32
3
0 3
1
3
0
1
0
2
0
3
Movement 1, bar 105 28
2 42
cresc.
31 1
020
Movement 1, bar 97 120
1
2 1 30
20
1 34
Movement 1, bar 84 243
31 2 1
A4
1
cresc.
12 1
Movement 1, bar 80 169
2
4
1 11 1
4
14
Movement 1, bar 76 206
3
231
31
42 3
142
31
31
42 3
2
Movement 1, bar 40 234
Movement 2, bar 66
31 2
0
cresc.
31 3
1
31
225
Movement 2 [Andante], bar 9
23
1
A3
2 32
101
Movement 1, bar 420
3
3
31
3
4
33
3
3
3
2844
Movement 1, bar 363
4A
dim.
1 1 11
11 2 1
293
1
Movement 1, bar 336 254
Movement 1, bar 211
con forza
33
3 236
Movement 1, bar 181
12 2
0 2
74
cresc.
0 01 1
4 4Movement 1, bar 174 176
24 2 4
Movement 3, bar 81
2 4leggiero
4
4 0 1
2
5
Movement 3, bar 53
1 3
11 1
414
Movement 3, bar 37
2 1 2 1 1
2 1A 2 1
8va
245
04
Movement 3, bar 123 0
33 0 3 0
285
Movement 3, bar 9
4 1
2
1 0 1
1
41
41
238
Movement 3 [Allegro molto vivace], bar 2
2
scherzando0
30
188
Movement 2, bar 103
2 1
sempre più
1
A1 3
217
Movement 3, bar 117 157
Index of music examples 319
bar 253 2
289
bar 173
4 41
112
bar 10 [Adagio]
Adagio in E, K261
Mozart, Wolfgang Amadeus
14
230
bar 2 [Allegro]
Moffat, AlfredIntrada
4 3
101
Variation 5 [Très modéré], bar 1
2 13 3
1 2 1
76
Variation 2 [Un peu moins modéré], bar 3
Messiaen, OlivierThème et variations
24 4
1 2 14 4
2
97
Movement 3, bar 168
1
leggiero
1 0 0 03
2 0 4 3
0 0
98
Movement 1, bar 602
216
Movement 1, bar 51
2 1
169
4
Concerto no. 3 in G, K216
Movement 1 [Allegro], bar 38 233
3
2
2
Movement 2 [Andante], bar 9 67
1
1 42
Movement 1, bar 26 265
4
3
Movement 1 [Allegro moderato], bar 22 49
Concerto no. 2 in D, K211
Movement 1, bar 1243 1 2
1194
Movement 1, bar 106
0 0 0
14
Movement 1, bar 90
4 0
01
260
Movement 1, bar 86
21 1 0
0
288
Movement 1, bar 79
43
126
Movement 1, bar 78
0
2
3 21 196
Movement 1, bar 68
4 4 4
257
Movement 1, bar 644
1
96
Movement 3, bar 141
2 1 1E
296
Movement 3 [Allegro], bar 81
3 2 0 4
0
122
Movement 2, bar 9
1 23 1
1
203
Movement 2 [Adagio], bar 8
2
3
2 2 4 4
246
Movement 1, cadenza (Sam Franko)
31
32
125
Movement 1, cadenza (Sam Franko)
42
3
leggero
4 3
171
0 2
1
2
Movement 1, cadenza (Sam Franko) 82
2 0 1 2 0
2 01
31
Movement 1, cadenza (Sam Franko) 286
43
Movement 1, bar 209 127
Index of music examples320
2883 3
Movement 1, bar 70
3
1 21
Movement 1, bar 68 62
1
0 4 0 0
Movement 1, bar 59 31
4 14
4
Movement 1, bar 53 180
1 1 1
Movement 1, bar 52 198
4 3 4 1
Movement 1, bar 49 159
2
2
1
Movement 1, bar 47 7
2 4 3
Movement 1 [Allegro], bar 42 220
Concerto no. 4 in D, K218
Movement 1, cadenza (Joachim)
3
3
A1
1 3
delicatamente
3
202
Movement 1, bar 173 281
Movement 1, bar 166
0
0
4 4
0 23 3 2
1 1
43
Movement 1, bar 104
1
14 2 3 3
2
65
Movement 1, bar 98
1 2 2
31
124
Movement 1, bar 86
3 2 2 2
283
Movement 1, bar 78
0 01
41 1 3 4 25
Movement 1, bar 71
3
215
2
2
2 4 4 4
Movement 3, bar 61 103
42
1 1 4
Movement 3, bar 23 238
2 0 4
Movement 3, bar 15 95
2
Movement 3 [Andante grazioso], bar 1 94
2
3
2
1
brillante
1
1A
Movement 1, cadenza (Joachim) 63
0 4 0calando
Movement 1, cadenza (Joachim) 295
4 0
4 3
4 03 4 4
4 3
Movement 1, bar 2132
1 1 14 3
276
Movement 1, bar 1374 0 0 4 0
34 3
03
0 0
287
Movement 1, bar 1081 2 2 4
2 1 2 0
26
Movement 1, bar 84 254
Movement 1, bar 740
1177
Movement 1, bar 661 3 1 3
201
Movement 1, bar 50
1
2
4 3
184
Movement 1, bar 49
21 0 4 0
1
5
Movement 1 [Allegro], bar 46
10
3 23
55
2
Movement 1 [Adagio], bar 44
2 0 0 2
58
Concerto no. 5 in A, K219
Index of music examples 321
Sonata in G, K301
Movement 1 [Allegro con spirito], bar 128
0 4
1
212
Movement 3, bar 134
0 4 4
119
Movement 3, bar 894 4
160
Movement 3, bar 16
4 0
2
102
Movement 3 [Tempo di menuetto], bar 1
2 3
1
282
Movement 2, bar 1072 4
1 1 1 1
186
Movement 2, bar 412 1
E239
Movement 2 [Adagio], bar 223 2 0 0
21 2
110
Movement 1, bar 9 138
4 3
4
0
3
Movement 1 [Allegro moderato], bar 22 96
Sonata in B , K378
41
4
3 3
3 3
Movement 1 [Allegro], bar 1 261
Sonata in F, K377
dolce
4
Movement 2 [Tempo di Menuetto], bar 101 53
23
23 2
123
Movement 1, bar 170 218
0 02
1 1 2
Movement 1, bar 103 87
1 1 2 2 1
Movement 1, bar 8 95
1 4 0 4
4 3 1 0 4
Movement 1 [Allegro], bar 1 35
Sonata in E minor, K304
Sonata in B , K454
2 2
4Movement 3 [Allegretto], bar 5 182
1
3
cresc.
3
Movement 2 [Andante], bar 50 104
2 1
Movement 1, bar 50 112
34 4
Movement 1 [Allegro], bar 19 238
2
Movement 1 [Largo], bar 3 283
A2
1
44
4
44 3
0
No. 9, bar 61 100
4 124
3
1
2 0
1
44
124
4123
3 3 124
1
4
No. 9 [Allegretto], bar 17 279
Paganini, Niccolò24 Caprices, op. 1
14
3 14
sul G
1 1 1 1
4
10
0
No. 19, bar 27 199
sul G
1 4 34
34 4
20
No. 19 [Allegro assai], bar 25 163
13
24
cresc.
40 0
224 1
3
13
24 1
3 24 2
4
No. 18, bar 26 162
13
24GD
13
13
13
24 1
313
13
24
13DA
13 1
3 24
24
13 2
424
13AE
13 1
3 24
13
13 1
3 24
24
No. 18 [Allegro], bar 17 220
1
2 413
24 2
4 24 2
4 02
24 1
313
02 4
231 1
3
No. 17, bar 24 222
24 3 2 1 3 2 1 3 2 1 3 2 1 0 4 3 2 1 2 1 0 4 3 2 1 2 1 0 4 3 2 2
No. 17, bar 18 149
13
1
1No. 17 [Andante], bar 9 62
Index of music examples322
Movement 1, bar 233
33
D3
3 2
rit.
2
190
Movement 1, bar 182
12
34
12 3
4
12
34 2
1 4 2 12
34
12 3
4
12
34 2
1 4 2
215
1
Movement 1, bar 158
31 3
131
42
31 3
1 31
31
42
42
42
31
20
224
31
Movement 1, bar 131
23
11 1
1 1 1
79
Movement 1, bar 130
1 0 01
40 4
2 0 0
239
Movement 1, bar 113
cresc.
12 4
0 13 0
224
13
20 2
413 0 0
1
13
180
31 3
1
4
3
0
31 3
1 32
31
No. 24 [Quasi presto], var. 9, bar 9
4
140
pizz.
Movement 1 [Allegro maestoso], bar 111 174
Concerto no. 1 in D, op. 6
2A
8va
1
1
3
3
4 3 14 3
14 3 1
4
Movement 3, bar 95
31
4
dolce
32
13 1
3
4
4
2
1
32 4
31
139
Movement 3, bar 67
2 3 2 2
201
Movement 3 [Allegro spirituoso], bar 2
4
0
1 1
4 0
254
Movement 1, bar 298
00
01 4
00
0
11
Movement 1, bar 265
31 4
1 22
249
Movement 1, bar 254
3 3
44
4
109
Movement 3, bar 146 203
3
Movement 1, bar 241
1 0 20 2
2 1 2 31 3 0
21
0 2
33
3
A
32 3
D1
3 1
Movement 1, bar 52 294
2
cresc.
2 21 1
Movement 1, bar 28 34
1 2 2 4
Movement 1 [Allegro moderato], bar 1 196
2
1 2 1 2 1 2
1
Prokofiev, SergeCinq Mélodies, op. 35
Concerto no. 2 in G minor, op. 63
No. 2 [Lento, ma non troppo], bar 49 125
dolce
staccato
[Allegro vivace] bar 1 25
Moto perpetuo, op. 11
3 42
04 2
42
24 1
1 32
0
1
bar 105 30
La Campanella, op. 7
4 10
2
[Allegro grazioso] bar 10 99
282
Raff, JoachimCavatina
23
sul G
bar 1 [Larghetto quasi andantino] 110
0
1
3
3
3
0 1
Movement 4 [Allegro con brio], bar 1
G3
1
3
4 03 3
Movement 1 [Moderato], bar 42 65
Sonata in D, op. 94 bis
4
spicc.
1 34
Movement 2 [Andante assai], bar 71 120
Index of music examples 323
No. 3 [Comodo], bar 1
3
dolce legato
=100
115
No. 2, bar 9restez3 1 3 1 4 2 4 2 1 3 1 2
244
No. 2, bar 4
0 1 22
107
1
No. 2 [Allegro], bar 1
1 1 0 1
267
1
No. 1 [Moderato], bar 16
1
143
No. 1 [Cantabile], bar 3
24 Caprices
Rode, Pierre
24 3
6
185
Ravel, MauriceTzigane
bar 1 [Lento quasi cadenza]
2
268
No. 13, bar 3
sul A 31
1 1 2
136
No. 13 [Grazioso], bar 1
dolce
1
A4
164
No. 11, bar 84
3
sul D
cresc.2 1 1 1
1 1
159
No. 11, bar 7
3 1 3 1
3 1
122
No. 11 [Allegro brillante], bar 1
2
4 1
13
43
1
156
No. 4, bar 324 4 4
0
4
1
231
No. 4 [Siciliano], bar 1
42 2
4 24
20
1
73
Movement 1, bar 152
02
0
0284
Movement 1, bar 98
2
cresc. 1
3 41 1 3
4 6
Movement 1, bar 83
31
41
129
Movement 1, bar 80
ritard.
01
3 1 1
76
Movement 1, bar 63
1
3
cresc.
3 3 198
Movement 1 [Moderato], bar 44
Concerto no. 7 in A minor, op. 9
4
dolce
2 1 01
2 4
166
1
31 3
1
No. 14 [Adagio con espressione], bar 12 3 4
3
138
No. 23 [Moderato], bar 33 232
A
Movement 3 [Allegro non troppo], bar 78
1 40
1
97
Movement 1, bar 48
1 3 0 2 40
3
3
3
3 3
3
114
Movement 1, bar 43
21 3
1 31
23 2
1
32
58
Movement 1, bar 28
2 00
54
Movement 1, bar 13
31
1
G3
3
173
31
1
G3
Movement 1 [Allegro non troppo], bar 5 258
Concerto no. 3 in B minor, op. 61
Saint-Saëns, Camille
Index of music examples324
Rondo, bar 304
Introduction and Rondo Capriccioso, op. 28
4 4 4 4 4 4 4 3
84
0
8va
3
2 1
Rondo, bar 197 190
2 3 3 3
Rondo, bar 152 134
2 2
1 3 4Rondo, bar 69 206
2 2
3Rondo [Allegro ma non troppo], bar 11 157
30 2
0
0 D1
3
41
Introduction [Andante malinconico], bar 8 189
31
3
1
3
bar 265 [Allegro non troppo] 190
3
3
3
8va
bar 49 [Allegretto lusinghiero] 174
Havanaise, op. 83
bar 1 [Allegretto]
Habanera, op. 21 no. 2
31
20 3
1
04
42
2 2 2
158
Movement 1 [Moderato], bar 6
1
3
03
3
1
G2 2 2
155
Introduction, bar 158
2 2
chromatique
3
gamme
glissée
33
1
191
Introduction, bar 77A 3
sempre
267
Introduction [Allegro moderato], bar 49
Carmen Fantasy, op. 25
Sarasate, Pablo de
3
2 21 2
3A 3
1
8va
3
1 2 34
0 0
6
bar 4 67
Zigeunerweisen, op. 20 no. 1
01 1 1
1 3
1
1 1
bar 2 [Moderato] 132
1A 1 2
2
Zapateado, op. 23 no. 2
bar 114 [Allegro] 91
2 1
5
3
3
0Dbar 20
Playera, op. 23 no. 1
154
3 3
bar 4 [Lento] 52
pizz.
3 0 4
0
pizz.pizz.
04
bar 71 140
3 2 1poco rit.
2
Malaguena, op. 21 no. 2
bar 23 [Andantino] 181
con sord.
bar 49 [Un poco più lento]
molto espress.
22
3 23 3
133
bar 40
04 1
40
4 3 2 1 3E
1
3
bar 23
1veloce 1 1
molto riten.
190
bar 21
1
3 3 1 1 A4
1
13 1
313 1
3
202
bar 19
23
A
dim.3
gliss.
3
rit.
1 2 31
string.D
2 1 2 1
192
bar 13 [Lento]3
3 1 1
13 1
3 13 3
1
4
bar 73 4 3
2
3 3 3
3 41
3
3
3 3
4 3 1 3 1 2 0
9
Index of music examples 325
214
1 2 4 0
2 1 1
1
3
Movement 2 [Presto], bar 83
3
3
1
decresc.
0 0 0 1
Movement 1, bar 20 37
23 2 3 1
2 2
Movement 1 [Allegro moderato], bar 5 165
Sonata in A, op. posth. 162
Schubert, Franz
24 0
1 1 1 1bar 104 142
pizz.
42
arco
31
01
bar 98 185
2
1
2
3bar 78 109
31 1 1
bar 72 [Allegro molto vivace] 24
31
0 4 0 4
Movement 3 [Allegro], bar 1 125
3
3
Movement 2, bar 25 167
sul A
1 14
1 1
Movement 2 [Andante], bar 21 217
2
dolce
3 2 3
Movement 1, bar 31 276
1
cresc.
22 D
1
Movement 1 [Allegro moderato], bar 15 263
Sonata in A minor, op. 137 no. 2
0 0 2 2
Movement 3 [Allegro vivace], bar 16 138
3
32
Movement 1 [Allegro molto], bar 16 280
Sonata in D, op. 137 no. 1
Movement 3, bar 624
12
30 1
259
Movement 3 [Lebhaft], bar 8
4
4 4
4
4 0
215
4
Movement 2 [Allegretto], bar 8
2 2 0 3 1
4
Movement 1 [Mit leidenschaftlichem Ausdruck], bar 1
Sonata in A minor, op. 105
Schumann, Robert
1
sul G
14 3 1 2
131
Movement 4 [Allegro moderato], bar 57
1 10 4 0 4 0 2
233
Movement 1 [Allegro giusto], bar 1
Sonata in G minor, op. 137 no. 3
3
4
1 1
287
Movement 4, bar 63
2
1
3 3cresc.
0
3
0 3 4
50
Movement 4 [Allegro], bar 1
0
4 1
286
Movement 1, bar 102
espress.
3 3 3 3 3 2 2
219
Movement 1, bar 101
3D 0
poco
2 0
1
1
23
59
Movement 1, bar 484
1 11 1 7
1
0
crescendo molto
a piacere
12
12
3
D
21
3
D
12 3
21
3
79
Movement 1 [Allegro moderato], bar 8
Concerto in D minor, op. 47
Sibelius, Jean
156
1
3
3
1 0 5
1
5
13
Movement 1, bar 41 63
13 2 3
1
Index of music examples326
Movement 3 [Allegro], bar 5 143
poco
2
energico
2 2 2
3
2
3
4
30
1
3
3
meno
Movement 2 [Adagio di molto], bar 32 225
4
DG
D
2
1 2 1
D
2 1 2 1
Movement 1, bar 246 40
3 13
31
Movement 1, bar 234 121
1
3A
1
3 4 31 2
3 0
Movement 1, bar 227 204
2(3)
4 2
Movement 1, bar 222 116
dim. 3 3 1 0 1 3 3(4) crescendo
Movement 1, bar 119 128
3
4
cresc.
3
12
dim.
21
Movement 1 [Allegro moderato], bar 23 255
Tchaikovsky, Pyotr Il’yichConcerto in D, op. 35
3
3 3
1
3
3
3
Movement 1, bar 5 224
1 4
3 3
4 3
Movement 1, bar 1 270
Sonata in G minor (‘Dido abandonata’)
Tartini, Giuseppe
3 3
0 1
1
Movement 2 [Presto], bar 212 119
1
2 3 3
dim.
Movement 2 [Andantino], bar 43 183
Aus der Heimat
Smetana, Friedrich
Movement 1, bar 97
1
011
0 1
3
370
Movement 1, bar 69
2
con molto espressione
2A1
137
Movement 1, bar 664
2 2 0 04 3
0
74
Movement 1, bar 60
cresc.3
40 3 1
178
Movement 1, bar 574
1 1 1 1 1 11 3 0 2
180
1
Movement 1, bar 40
1 2 2 3 4 0 1 1 2 2 3 4 0 1 1 2 2
3 4 0 1
214
Movement 1, bar 30
1 4
3
182
Movement 1, bar 28
1 4 3
1 3
42
194
41
D10
Movement 1, cadenza
legato
3
1
2 01
3 43
63
22 1
E
2
3
Movement 1, bar 114
D
1
2
cresc.
3 43 1
11 3
4
176
D1
Movement 1, bar 111
2 10
cresc. poco a poco
32 1 3
4 1 34
1
Movement 1, bar 1083 2 1 1 2 1
104
0
Movement 1, bar 105
3 33 3 3 3
3 3
289
Movement 1, bar 99
5
1 7
1
3cresc.
2
5
1
11 2
3
3 212
Movement 1, bar 120 156
Index of music examples 327
bar 421
4
23
206
[Andante] bar 12
Sérénade mélancolique, op. 26
42
1 3 3
G
2
195
Movement 3, bar 368
1 01 4
20 4
232
42
261
Movement 1, cadenza 192
3 42 1 1 2 3 1 2 3
1 2 2 3 4Movement 3, bar 114 20
1
0
0
3 21
Movement 3 [Allegro vivacissimo], bar 53 38
42 2
30 4
0 01
Movement 1, bar 250 186
0
02
12 1
2
23 2
3DA
3
cresc.
0
2 3
3 3
1
3
Movement 1, cadenza 85
1
2
0 3 1 20 3
[Presto giocoso] bar 56 100
Scherzo, op. 42 no. 2
2 3 3 12
3
13
3
2 3 1 42
133
41 4 2
bar 154 155
3
3
3
0
1
1
2
2E1
bar 77 59
7
3
1 21 1 3
1
bar 53 16
4
31
1D A
10
bar 40 242
(poco crescendo)
3 1 1 24 3
1 1 4
1 1
DA A D
più
[Andante molto cantabile] bar 31 181
Méditation, op. 42 no. 1 Movement 1 [Allegro non troppo], bar 68
Concerto no. 5 in A minor, op. 37
3
8va
brillante
4 32 2
22
187
Movement 3 [Vivace], bar 1
Concerto no. 4 in D minor, op. 31
Vieuxtemps, Henri
0 0
12
215
bar 148
4
4 5
1 1 11
199
bar 79 [Allegretto tranquillo]
43 0 2 4 0 1 1
280
bar 3 [Andante sostenuto]
The Lark Ascending
Vaughan Williams, Ralph
senza misura
4 4
0 1 4 01
46
bar 6
41 3 1
41
248
Melody, op. 42 no. 3
bar 1 [Moderato con moto]4
espress.
24 1 3
135
Movement 1, bar 113 103
2
G
4
3A
1E
4
0 1
2 1
2 1
D0 2 4 0
1 1 11
30
Movement 1, bar 111 26
0
4 01
1 1
2
Movement 1, bar 109 2
2
2
sul G
con forza1 1
2
2 2 1 3
Movement 1, bar 87 59
2
0
43
0 01
24
Movement 1, bar 71 85
Index of music examples328
Movement 1, bar 215 2142
1 4 33
3
1 4 31 1 1 1 1
Movement 1, bar 135 186
2 14
1
Movement 1 [Allegro], bar 84 280
Concerto no. 23 in G
3
1 24 2
1 14
Movement 1, bar 211 127
largamente
0
Movement 1, bar 132 263
2
Movement 1, bar 102 269
espr.
0 4 4
Movement 1, bar 96 136
3
3
4 1 2
Movement 1 [Moderato], bar 88 164
Concerto no. 22 in A minor
Viotti, Giovanni Battista
Movement 1 [Allegro], bar 47
Spring (The Four Seasons), op. 8 no. 1
3
1
3 3 3 3 3 3 3
44
Movement 1, bar 1614 2
1280
Movement 1, bar 410 4
1
3 37
Movement 1, bar 13
diminuendo
101
Movement 1 [Allegro], bar 7
Concerto in G minor, op. 12 no. 1
3 1
15
Vivaldi, Antonio
Movement 2 [Largo], bar 1
Concerto in A minor, op. 3 no. 6
1
241
29
0
0 0
4
Movement 3, bar 116
1
4
restez
2
Movement 3, bar 48 10
11
Movement 3, bar 40 168
00 0
0
Movement 3 [Presto], bar 10 284
2 21
Movement 1 [Allegro non molto], bar 21 207
Summer (The Four Seasons), op. 8 no. 2
3
1
3 3 3 3
1
3 3 3 3
1
3 3 3
1
Movement 1, bar 51 278
12
10 0
2
3
24
1 2
43
3
31
Movement 3 [Allegro], bar 301
72
Movement 1, bar 87
A 3
29
Movement 1, bar 75
4 34
263
Movement 1, bar 720 0 0 0
108
Movement 1, bar 41
30
00
0
00
12
Movement 1, bar 39
2
3 3 3
1
33
1
3 3 3
179
Movement 1, bar 364 G
2
4
2
4
2
4
2
230
4
Movement 1, bar 17
31
04
31
34
171
Movement 1 [Allegro], bar 1
Autumn (The Four Seasons), op. 8 no. 3
94
Movement 3, bar 53 231
Index of music examples 329
99
Winter (The Four Seasons), op. 8 no. 4
Movement 3, bar 120
3
3
3
3
3
3 3
Movement 3, bar 80 121
1
Movement 3 [Allegro], bar 12 199
4
Movement 1, bar 28 295
12
Movement 1 [Allegro non molto], bar 26 24
3
4
3 3 3
3
3
4
3 3
Movement 3, bar 86 286
Movement 1, bar 188sul G
3
marc. e rubato
14
89
Movement 1, bar 127
1
1
1 1 1
1
187
1
4
Movement 1, bar 125
2 2 4
4 2 4
92
Movement 1, bar 115
2
molto legato e tranquillo
1
4 4
1 11
33
Movement 1, bar 108
241 3
0
13
24 1
324
13
24
24
66
3 03
4 1 2 2
3
4 4 A3 3
3 01
AD
Movement 1, bar 88 189
Movement 1, bar 86 15
espressivo ma sotte voce
31 1
A1E
Movement 1 [Allegro moderato], bar 68 131
Concerto no. 2 in D minor, op. 22
Wieniawski, Henryk
Movement 3, bar 137 98
saltando
1
22 3
3
4
8va
3 11
3 14
30
4 30 2
Movement 3, bar 55 178
spiccato
0 0 0
Movement 3 [Allegro moderato], bar 39 254
4
cresc.
4
2 20 1 0 1 0 1
0
1
2 3
Movement 3 [Allegro con fuoco], bar 7 232
dolce
31 2
1 11 3 3
Movement 2, bar 49 202
3
semplice1
Movement 2 [Andante non troppo], bar 1 55
3 3 33 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3 3
Movement 2, bar 207 1920
44
3 3
43
0
0
0bar 23 90
31
0
4 3bar 22 227
3
3
4 3
6
0 3
bar 21 [Allegro moderato] 13
Polonaise brillante, op. 21
2
sul G
3 3
3 3
1 2 2
bar 144 [Moderato maestoso] 59
31
molto cantabile 20
42
bar 69 [Allegro moderato] 138
3 0 42 3
2
bar 25 281
0 31
bar 8 [Andante] 256
Légende, op. 17
0
Index of music examples330
bar 155
34
3
poco più meno
3 3
1
3 3
2
0
9
bar 150
3au talon
1dim.1
sul G
1
4
4
rit.1 1 1
3 3
257
bar 110
2 0 4
208
bar 76
3
3
4 3 1 3 1 4 3
cresc.1 1
1 1
8va
1 1 13
1
75
bar 66
3
dolce
D30 A
3
34 3
1 3 1 4
245
3
bar 45
1
2
0
2 1
D3
3
A
1
4
181
bar 43
energico
12
31 3
4
21
largamente
2
1
0
226
bar 26
2 1 2 1 2 3 4 21
1 1
121
2
largamente
4 31 2 4 0
0
3 23
1
0 2 0
1 3 3
bar 92 156
bar 9 182
1 1G
1
340
bar 5 [Allegro maestoso] 255
Polonaise de Concert, op. 4
bar 4 216
Etude, op. 45 no. 34
2 4 4
11
4 4 02
Wohlfahrt, Franz
2 1 2 1 21
bar 40 13
2 leggiero
3 3 restez A4 D
4
bar 12 25
24
34 3
1
bar 4 [Presto] 221
Scherzo-Tarantelle, op. 16
4
30
31
13
31 1
324 4
2
04
31
bar 104 222
3
14 0 0
3 3
1
4 0 02
3
3
Movement 1 [Lento maestoso] bar 1 53
cresc.
Movement 1, bar 39 249
Sonata, op. 27 no. 4
0 0
3 2 3
0 0
Movement 1, bar 11 105
court.
(brutalement)
02 0 0 2
1 0 31
41
4
Movement 1 [Poco vivace], bar 3
Sonata, op. 27 no. 2
118
Ysaÿe, Eugène
Index of music examples 331
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