Contents · 2019-10-02 · Contents Introduction VII Index of music examples 306 General index 332 Part 1 – Fast passages Tempo 1 Practising very slowly 1 Practising at performance

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 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


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


1

2

1

41 0 4

1

4

22

Movement 2 [Andante con moto], bar 8 170

4

23

1 3

cresc.

3 4


2 1 1 23

4


01 1

3 4

0

3

Movement 1 [Allegro con brio], bar 1 203

Sonata in D, op. 12 no. 1


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


Movement 3 [Allegro molto], bar 18

0 01

4

cresc.

0 01

1


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


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


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 [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


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


dolce

2

0

2

1 1


dim.

4

1

4

3


4

01

01

dim.

4

3 0 14

3 0 3 0 2


0

42 0

0 1


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


1

2 2 21

4

24

1

281

Movement, 1 cadenza (Joachim) 128

DG


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


animato42 2

413 2

4 13

43 1

3 30 2


0 0 0

4



2 2

22 2 2


13 2

41

41 4

1 23


01 1 1

20 1

24


3

0

6

40

0 21



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


Movement 3 [Allegro molto moderato], bar 1 86

cresc.

4


2 2 2 4 1 4 3

dolce

3

42

43

4

2


1

espress.

32 1


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


1

dim.

2

118

Movement 1, bar 412

4 3 1

165

2


4 2

4

31


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 3 [Allegretto grazioso, quasi Andante], bar 5 164

3

ma espress.

1 2

1

4 2 1 2 2


2 1 1sul G

3 2 1 3

pizz.

1 1


Movement 1, bar 151

1 13

268


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


0

espress.


4

G2 3


1

sotto voce ma espressivo

22


Sonata no. 3 in D minor, op. 108

0

Movement 4 [Presto agitato], bar 9 28


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


3

43

11



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


0 2 2

4

3

4

3


espressivo

3

largamente

3

3

3

3

1 3

3 3 3

1



31


71


1

marcato


3

A

1


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


3 3 2 1G1 2


1 3 0

3

1

2

0 1

2

3


cresc.

2

sul D2 1 3


cresc.3

2sul DMovement 2 [Adagio], bar 1 173

0 0 11 1


espressivo



12

au talon

32 1

2

23

3

12 1

2 23



0

3

43 1

3

1

0

3

2

1

2


3

0

13 4

0 13


2

3

1

3

2


31

3

31 3

1Movement 3 [Allegro energico], bar 19 223

4

6

0

6

0 2

42


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



con fuoco

3

33 3

3 0 2 01

1 3

E

30 0

02


3 0 01 1

E

3


Movement 4 [Allegro guerriero], bar 11 81

Introduction [Grave], bar 21

Scottish Fantasy, op. 46

124


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


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


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


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


con forza

4

simile

11

1


0 4 1 2


risoluto

4


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


3 3 3 33 2 3 3

214


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


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



sempre

3

e grandioso

8vaA2

3 3 A2

3 3


2

dolce cantabile

1 1

Movement 4 [Allegretto poco mosso], bar 2 211

1 4 1


1

5

1 3 3


2 23 2

2 1

con fantasia

Movement 3 [Ben moderato], bar 4 77

0 2


1

poco cresc.

3 1 1 3 3 3

dim.

1 1


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


0 4 0 4 0 0 02

03

0 1

37

Movement 1 [Affettuoso], bar 1


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


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


Concerto no. 1 in C

Haydn, Joseph

0

3 3

223


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


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


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


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


0

193


0 0

0

0

0 00

92

No. 2, bar 164

1 1

4

0

205


42 Etudes ou caprices

Kreutzer, Rodolphe

0 0 4 4

86



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


1

1179


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


0

1 41 1

109

No. 29, bar 19

13 1 3 1 3 1 3

195


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


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


1 0

4 2 4

2

1

13

8va

43


24

2

3

4

4 3Movement 1, bar 120 60

30

0 0 1

pesante3

31


5

0 1

espress.3 3 3 3

13


11 1

8vaMovement 1, bar 37 18


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


1

tranquillo

1

restez

2G 4

A

21 3

11

3 43 1 3 2 4


32

3

0 3

1

3

0

1

0

2

0

3


2 42

cresc.

31 1

020


1

2 1 30

20

1 34


31 2 1

A4

1

cresc.

12 1


2

4

1 11 1

4

14


3

231

31

42 3

142

31

31

42 3

2


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 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


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



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


3

2

2


1

1 42


4

3


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


3 2 0 4

0

122

Movement 2, bar 9

1 23 1

1

203


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



2883 3

Movement 1, bar 70

3

1 21


1

0 4 0 0


4 14

4


1 1 1


4 3 4 1


2

2

1


2 4 3


Concerto no. 4 in D, K218

Movement 1, cadenza (Joachim)

3

3

A1

1 3

delicatamente

3

202


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


42

1 1 4


2 0 4


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


1 1 14 3

276

Movement 1, bar 1374 0 0 4 0

34 3

03

0 0

287


2 1 2 0

26


Movement 1, bar 740

1177


201

Movement 1, bar 50

1

2

4 3

184

Movement 1, bar 49

21 0 4 0

1

5


10

3 23

55

2


2 0 0 2

58

Concerto no. 5 in A, K219


Sonata in G, K301

Movement 1 [Allegro con spirito], bar 128

0 4

1

212

Movement 3, bar 134

0 4 4

119


160

Movement 3, bar 16

4 0

2

102

Movement 3 [Tempo di menuetto], bar 1

2 3

1

282


1 1 1 1

186


E239

Movement 2 [Adagio], bar 223 2 0 0

21 2

110


4 3

4

0

3


Sonata in B , K378

41

4

3 3

3 3


Sonata in F, K377

dolce

4

Movement 2 [Tempo di Menuetto], bar 101 53

23

23 2

123


0 02

1 1 2


1 1 2 2 1


1 4 0 4

4 3 1 0 4


Sonata in E minor, K304

Sonata in B , K454

2 2

4Movement 3 [Allegretto], bar 5 182

1

3

cresc.

3


2 1


34 4


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


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


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


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


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


2

cresc.

2 21 1


1 2 2 4


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


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


1 1 0 1

267

1


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


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


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


214

1 2 4 0

2 1 1

1

3

Movement 2 [Presto], bar 83

3

3

1

decresc.

0 0 0 1


23 2 3 1

2 2


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


3

3


sul A

1 14

1 1


2

dolce

3 2 3


1

cresc.

22 D

1


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


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


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


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


Concerto in D minor, op. 47

Sibelius, Jean

156

1

3

3

1 0 5

1

5

13


13 2 3

1



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


3 13

31


1

3A

1

3 4 31 2

3 0


2(3)

4 2


dim. 3 3 1 0 1 3 3(4) crescendo


3

4

cresc.

3

12

dim.

21


Tchaikovsky, Pyotr Il’yichConcerto in D, op. 35

3

3 3

1

3

3

3


1 4

3 3

4 3


Sonata in G minor (‘Dido abandonata’)

Tartini, Giuseppe

3 3

0 1

1


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



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


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


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


2

G

4

3A

1E

4

0 1

2 1

2 1

D0 2 4 0

1 1 11

30


0

4 01

1 1

2


2

2

sul G

con forza1 1

2

2 2 1 3


2

0

43

0 01

24




1 4 33

3

1 4 31 1 1 1 1


2 14

1


Concerto no. 23 in G

3

1 24 2

1 14


largamente

0


2


espr.

0 4 4


3

3

4 1 2

Movement 1 [Moderato], bar 88 164

Concerto no. 22 in A minor

Viotti, Giovanni Battista


Spring (The Four Seasons), op. 8 no. 1

3

1

3 3 3 3 3 3 3

44


1280


1

3 37

Movement 1, bar 13

diminuendo

101


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


11


00 0

0


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


12

10 0

2

3

24

1 2

43

3

31


72

Movement 1, bar 87

A 3

29

Movement 1, bar 75

4 34

263


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


Autumn (The Four Seasons), op. 8 no. 3

94



99

Winter (The Four Seasons), op. 8 no. 4

Movement 3, bar 120

3

3

3

3

3

3 3


1


4


12

Movement 1 [Allegro non molto], bar 26 24

3

4

3 3 3

3

3

4

3 3



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



espressivo ma sotte voce

31 1

A1E


Concerto no. 2 in D minor, op. 22

Wieniawski, Henryk


saltando

1

22 3

3

4

8va

3 11

3 14

30

4 30 2


spiccato

0 0 0


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


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


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


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.


Sonata, op. 27 no. 4

0 0

3 2 3

0 0


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


Documents

Contents · 2019-10-02 · Contents Introduction VII Index of music examples 306 General index 332 Part 1 – Fast passages Tempo 1 Practising very slowly 1 Practising at performance