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Scale system.

MUSIC LIBRARY

UNIVERSITY OF CONNECTICUTSTORRS, CONNECTICUT

Digitized by the Internet Archive

in 2013

http://archive.org/details/scalesystemscaleOOfles

MP-

• Brit'

CARL FLESCH

SCALE SYSTEMSCALE EXERCISES

in All Major and Minor Keysr

M. Margaret B. Paskavltdi--, rL ,

RFD Chorcfi St. 06234r Y 7

vwwi MR& MARGARET PASKAVn-

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Adapted for the

VIOLAby

CHARLOTTE KARMAN6.00

Also published for the Violin

Carl FischerINC.

62 Cooper Square, New York 10003

BOSTON • CHICAGO • DAUAS • IOS ANGEIES

02921

m ^j^^^e^t^Lbt

MPS. i aV -

"aw Britain, C w

Carl Flesch

SCALE -SYSTEM

SCALE EXERCISES

in All Major and Minor Keys

for

Daily Study

Adapted for the

VIOLA

CHARLOTTE KARMAN

Carl Fischerinc. gg

62 Cooper Square, New York 10003 tg"S&TB

BOSTON • CHICAGO • DAUAS • IOS ANGSIES

MUSIC LIBRARY02921

UNIVERSITY OF CONNECTICUT

STORRS, CONNECTICUT

Copyright 1942

by

Carl Fischer, Inc.

New York, N. Y.

international Copyright Secured

Printed in U. S. A.

••

1 uui rciaw*iGO .gn

"FOREWORD"

Until comparatively recent times very little had been written for

the viola as a solo instrument. Our contemporary composers have done

a great deal to remedy this situation. Bax, Eere^owsky, Bliss, Bloch,

Delius, Hindemith, Honegger, Milhaud, Vaughan Williams, Walton and

many others have contributed important sonatas, suites and concertos

for the viola. Many new works are constantly being added.

This new literature has placed new demands upon the violist, who

in the past found a place only as an orchestra or chamber music player.

Higher standards of technical perfection are required.

It therefore occurred to me that the "Scalesystem"''' published by

the eminent pedagogue and violinist Carl Flesch, regarded as a standard

work by violinists the world over, would be equally valuable to violists

ii translated into their medium.

I have undertaken this task with the encouragement of Professor

Carl Flesch. The publishers and I hope that it will be found useful by

performers and teachers of the viola.

Charlotte Karman

New York

October 1941

-PREFACE-

Long years of practical experience have strengthened my conviction that the "Scalesystem"*

provides the best time-saving method of developing one's general technique.

To derive the maximum benefit from these studies it is essential that the following suggestions

be observed:

I. This system of scales is comprised of exercises which are of service for both intonation and

facility—therefore for perfecting the intonation they are to be practised slowly, for acquiring facility

they are to be practised rapidly.

II. The scales should be studied in a different key every day so as to go through the entire book

progressively.

III. The Harmonic form of the minor scales in double -stops is given preference over the

Melodic form for the reason that it employs the important interval of the augmented second which

is frequently neglected. On the other hand, the simple minor scales are presented in the melodic form

and both varieties have been combined in the scales of broken thirds.

IV. To use the time at one's disposal for practising to the utmost advantage, the simple scales

are combined with bowing exercises. The latter may be employed in a like manner in conjunction

with the double-stop scales, especially when the intervals are played broken, viz:—

ra r r * r r r mand

mand

mand

~y

^V. It is suggested that the student add various dynamics to the scales and chord progressions,

VIZ.

pf ,

^- "

t »~~~~^^.

IIP p - m -m 1—P [ |t~ |~

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VI. A few exercises in harmonics are added at the end of each scale group. This form of tech-

nique is somewhat neglected by many viola players and these exercises are added to assist in equipping

the student with material that will be essential in his future work.

VII. The customary marks are employed in indicating the use of the bow, viz:

W.B.-—whole bow

H.B. —half-bow

M. -—middle bow

P. —the tip (point)

Fr. —the nut (frog) Carl Flesch

*1 am using the word "System" here for want of a better one and against my inclination. It is merely meant to denote a practically tested form

and not by any means a rigid, unelastic method of practising, which is always inimical to genuine artistic delivery. The prerequisite of true artistry

U entire freedom from all and every kind of "System."

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FAMOUS COMPOSITIONSARRANGED

FOR

VIOLA- PIANOFIRST AND THIRD POSITIONS

BERCEUSE (B 2351) A. Jarnefelt

CAVATINA (B 1392) J. Raff

LE CYGNE (The Swan)from "Carnival of the Animals" (B 1393) C. Saint-Saens

NONE BUT THE LONELY HEART(Nur wer die Sehnsucht kennt), Op, 6,No. 6 (B 2352) P. Tchaikovsky

POEM, Op. 31a (B 2675) , G. Read

SONG OF INDIA from "Sadko" (B 2350) N. Rimsky-Korsakoff

VOICE OF LOVE (Evening Serenade) (B 1394) R. Schumann

HIGHER POSITIONS

ADAGIO from "Toccata in C.Major" for Organ (B 1950) J. S. Bach

*AO PE DA FOGUEIRA (Preludio XV) (B 2673) Valle-Heifetz

CELEBRATED AIR (Air on the G String) (B 1383) J. S. Bach

*HORA STACCATO (B 2671) Dinicu^Heifetz

*HUELLA (B 2672) Aguirre-Heifetz

HUMORESKE, Op. 101, No. 7 (B 1390) A. Dvorak

*JEANIE WITH THE LIGHT BROWN HAIR (B 2674) Foster-Heifetz

KOL NIDREI, Op. 47 (B 1385) M. Bruch

NOCTURNE in Eb, Op. 9, No. 2 (B 1386) F. Chopin

ORIENTALE from "Kaleidoscope" Op. 50, No. 9 (B 1387) .... C. Cui

SERENADE (B 1389) R. Drigo

*SOFT STRAINS OF MUSIC DRIFTING(Wie Melodien zieht es mir), Op. 105, No. 1 (B 2680) J. Brahms

*SOLFEGGIETTO (B 2683) , C. P. E. Bach

*24th CAPRICE (B 2681) N. Paganini

*Arranged by William Primrose

Carl Fischer;

INC.

62 Cooper Square, New York 3

BOSTON • CHICAGO •

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