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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-
JH
fere@klyn* Conn a,•
:
-
10„1
.
Hl«hri*e Roadi # *v.«n
jBjew Bntaio, Conn, 060f
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~ |~
'
' T" f~ F1
-IM^ T J J J rj J Lm^b** 1 =#=
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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