^vvvvvvy^^^wM*-^^^^Seviiik. Op. 7 PREPARATORY TRILL STUDIES-Part

2

Violin

SCHIRMER'S LIBRARYOF MUSICAL CLASSICS

Vol. 1414

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PreparatoryTrill Studies(Estudios Preparatories de Trino)

For the Violin

IN TWO PARTS

Part II

(SVECENSKI)

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HAROLD B. LEE LIBRARY

BRIGHAM YOUNG UNIVERSITYPROVO, UTAH

\ • 3. SCHIRMER'S LIBRARYOF MUSICAL CLASSICS

OTAKAR SEVCIKOp. 7

Preparatory Trill Studies

(Estudios Preparatories de Trino)

For the Violin

For Developing the Touch and Strength

and Surety of the Fingers

Edited by

LOUIS SVECENSKI

IN TWO PARTS

PART I

Exercises in the First Position

Library Vol. 1413

PART II

Exercises in the Second, Third, Fourth,

Fifth and Sixth Positions

Library Vol. 1414

G. SCHIRMER, INCNew York

Copyright, 1921, by G. Schirmer, Inc.

Printed In the U. S. A

Digitized by the Internet Archive

in 2012 with funding from

Brigham Young University

http://archive.org/details/preparatorytri27evko1921

AL DISClPULO

La practica del trino debe incluirse

en la obra tecnica del diario por el

discipulo del violin, no solamente por

el trino, sino para el desarrollo de unmovimiento exacto y seguro de los

dedos en general.

La dificultad en obtener un trino

claro y resonante en la mayor parte

de los casos se aumenta por unadefectuosa posicion de la mano ylos dedos que puede corregirse si

el discipulo observa fielmente las

siguientes instrucciones.

Antes de empezar a tocar el ejerci-

cio deben colocarse los dedos sobre

los tonos indicados por las notas ne-

gras sin plica, y despues de haber

asegurado su verdadera entonacion,

los dedos deben mantenerse sobre las

cuerdas por lo menos un minuto, v

siendo esencial que el discipulo, du-

rante este intervalo, fije los ojos sobre

la mano y los dedos. Al empezar el

ejercicio los dedos deben alejarse de

las cuerdas sin cambiar la posicion en

que. estaban cuando sobre los tonos

indicados.

Practiquese el trino despaciosa-

mente con cuidadosa atencion a la

uniforrnidad del movimiento de los

dedos y ensayese la calidad y claridad

del trino en piano y aun en pianissimo.

Es de suma importancia retener

los dedos en su lugar segun se indica

por la linea amparando la obra de los

dedos, y el discipulo debe tener muypresente que unicamente siguiendo

estas indicaciones podra derivar

beneficio completo de estos ejercicios.

Anotacion.—Estos ejercicios pre-

paratories de trino deben darse al

discipulo encuanto este listo para

empezar el estudio del primer libro

de Kayser, Op. 20.

LOUIS SVECENSKI.

TO THE STUDENTThe practice of the trill should be

included in the daily technical workof the Violin Student, not only for the

trill itself, but also for promoting the

development of accurate and reliable

finger-action in general.

The difficulty in obtaining a clear

and ringing trill is increased, in mostcases, by a faulty position of the handand fingers, which may be corrected

if the student will faithfully observe

the following instructions.

Before beginning to play the ex-

ercise the fingers should be placed onthe tones indicated by black note-

heads, and, after having made sure of

their true intonation, the fingers

should be kept on the strings for at

least one minute, during which time

the student's eyes should be fixed uponhis hand and fingers. When ready to

start the exercise, the fingers should

leave the strings without changing the

position in which they were kept while

on the tones indicated.

Practise the trill slowly, with close

attention to the evenness of the

finger-movement, and test the tone-

quality and clarity of the trill in

piano and even pianissimo.

To retain the fingers in their places

as indicated by the line following the

fingerwork is of the greatest impor-

tance, and the student should be con-

vinced that only by following these

instructions can full benefit be de-

rived from these exercises.

Note.—These preparatory Trill

Exercises should be given to students

as soon as they are ready to begin the

study of the first book of Kayser's

Op. 20.

LOUIS SVECENSKI.

AVIS A L'ELEVE

L'eleve consacrera une partie dutemps a l'etude du trille dans le

travail journalier de la technique duviolon et cela non seulement pour le

trille en lui-meme, mais aussi pour la

dexterite des doigts en general.

En beaucoup de cas la difficulte

pour obtenir un trille sonnant claire-

ment est augmentee par la mauvaiseposition de la main et des doigts;

pour reduire cette difficulte au mini-

mum l'eleve observera avec soin les

instructions suivantes.

Avant de commencer a jouer l'exer-

cice, les doigts devront etre places

sur les sons indiques par les notes

noires, et apres s'etre assure de la

parfaite justesse, l'eleve gardera les

doigts sur les cordes au moins uneminute durant laquelle il aura les yeux

fixes sur la main et les doigts. Com-mencant l'exercice, les doigts devront

se lever des cordes sans changer la

position dans laquelle Us etaient tenus

quand Us etaient places sur les sons

indiques.

II faut travailler lentement avec

l'attention fixee sur l'egalite des

mouvements du doigt et il faut cul-

tiver la clarte et la qualite de son

du trille dans les nuances piano et

pianissimo.

La tenue correcte des doigts etant

d'une tres grande importance, l'eleve

devra se convaincre que ce sera seule-

ment en suivant ces instructions a

la lettre qu'il parviendra a en tirer

tout le benefice possible.

Nota.—Ces exercices preparatoires

pour le trille devront etre travailles

par les eleves aussitot qu'ils seront

prets a commencer l'etude du premier

livre de Kayser, Op. 20.

Louis Svecenski.

30092-109

PREPARATORY TRILL STUDIESEstudios Preparatories de Trino

For the Violin

3010!)

HAROLD B. LEE LIBRARYBRIGHAM YOUNG UNIVERSITY

PROVO, UTAH

Estudios Preparatories

de Trinoen las 2a,3a,4a,5a

y C>a posiciones

Parte na

Edited by Louis Svecenski

Preparatory

Trill Studies

in the 2d, 3d, 4th, 5th

and 6th positions

Part H

Exercices Preparatoires

de Trille

dans la2-e,3e,4e,5e

et 6e positions

n° Partie

Otakar Sevcik. Op.7

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A

Sch i rmer's Libraryof Musi cal Classics

METHODS, STUDIES, EXERCISES AND PIECESFOR VIOLIN SOLO

SERIES TWO

MAZAS, F.

L.487 Op. 36. 75 Melodious and Progressive Studies

(Hermann). Bk. I: 30 Special Studies;

L.488, Bk. II: 27 Brilliant Studies;

L.489, Bk. Ill: 18 Artists' Studies.

L.1258 Op. 36. 40 Selected Studies (Franko). Bk. I;

L. 1259, Bk. II.

PAGANINI, N.

L.1663. Op. 1. 24 Caprices (Berkley).

RIES, H.

L.449 Op. 28. 30 Elementary Studies. In the 1st, 2d

and 3d Positions.

RODE, P.

L.231

L.1433

24 Caprices. In the 24 Major and Minor

Keys (Berkley).

12 Etudes (Lichtenberg).

ROVELLI, P.

L.759 Op. 3, 5. 12 Caprices (Lichtenberg).

SCHRADIECK, H.

L. 1397 Chord Studies (Svecenski).

L. 364 Scale-Studies.

L. 515 The School of Violin Technics. Bk. I:

Exercises for Promoting Dexterity in

the Varous Positions; L. 516, Bk. II:

Exercises in Double-Stops; L. 517, Bk.

Ill: Exercises in the Different Modesof Bowing.

SCHUBERT, L.

L. 396 Op. 50. Violin Method. Bk. I; L. 397, Bk. II.

SEVCIK, 0.

L.844 Op.l.

L.1182 Op. 2.

L.1413 Op. 7.

L. 848 Op. 8.

L. 849 Op. 9.

SITT, H.

L.871 Op. 32.

L. 1084

TARTINI, G.

L.922

TOURS, B.

L. 1457

School of Violin Technics (Mittell).

Part I: Exercises in the 1st Position;

L. 845, Part II: Exercises in the 2d to

7th Position; L. 846, Part III: Shifting

(Changing the Position); L. 847, PartIV: Exercises in Double-Stops.

The School of Bowing Technic -(Mittell).

sp. e. Part 1; L. 1183, Part II.

Preparatory Trill Studies (Svecenski).

sp. f. e. Part I: Exercises in the 1st

Position; L. 1414, Part II: Exercises

in the 2d, 3d, 4th, 5th, 6th Positions.

Shifting and Preparatory Scale-Studies

(Mittell).

Preparatory Exercises in Double-Stop-

ping in Thirds, Sixths, Octaves andTenths (Mittell).

Etudes. Bk. I: '20 Etudes in the 1st Po-sition; L.872, Bk. II: 20 Etudes in

the 2d, 3d, 4th and 5th Positions;

L.873, Bk. Ill: 20 Etudes withChange of Position.

Scale-Studies. Appendix to Schradieck's

Scale-Studies (Mittell).

The Art of Bowing. 50 Variations on aGavotte, by Corelli (Lichtenberg).

The Violin. A Complete Method (Bu-

tera). sp. e.

WIENIAWSKI, H.

L. 184 Op. 18. 8 Etudes-Caprices. With a 2d Violin in

score (Lichtenberg). Bk. I; L. 185, Bk.

II.

WOHLFAHRT, F.

L.1404 Op. 38 Easiest Elementary Method. For Begin-

ners (Smith), sp. e.

L. 838 Op. 45. 60 Studies (Blay). Bk. I: 1st Position;

L.839, Bk. II: 3d Position.

L.926 Op. 54. 40 Elementary Studies.

L.927 Op. 74. 50 Easy Melodious Studies. Bk. I: 1st

Position; L. 928, Bk. II: 3d Position.

Prices Subject fo Change Without Notice.

T A-1196G. SCHIRMER, INC, NEW YORK

v>^wvvv^^vvvvyy-<f-<t^«^^^^^tM*. »T •. »CMI»>"»- tIM.

BRIGHAM YOUNG UNIVERSITY

3 1197 22975 4640

Date Due

K\\ libraryHems are subject tor

ecaU at any time.

Brigham YoungUniversity