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1939

Violin Course: Grade 8, ExercisesSherwood Music School

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Recommended CitationSherwood Music School. "Violin Course Grade 8, Exercises" (1939). Sherwood Community Music School, College Archives &Special Collectons, Columbia College Chicago.

eSherwood C?JKusic e&1wol ~ourses

VIOLIN EXERCISE 801

Double Stopping Ma(jor (J/ll,d minor scales) i'n octaves

A helpful practice device for use in connection with octaves like those in this Exercise consists

of playing the octaves alternately in broken and in solid form:

,~-II J) d 1'.1) g I •••. Sounding the tones separately aids in gaining true intonation; accuracy of pitch must be \.'\'atched

carefully in octave playing. Octaves which are slightly .or considerably "off", are very unpleasant. This

same device also gives you time to think about your fingering, and to anticipate shifts of Position.

Refer to Lessen 113, TEOHNIC, for an extended discussion of octave playing .

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Copyright 1939 by A.J. Llewellyn. Imperial and International Copyrig·ht Secured All rights reserved for all countries, including the right of translation

Printed in U. S. A.

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VIOLIN EXERCISE 802

Shifting I

A review of the fundamental points concerning shifting, in Lesson 31, TECHNIC, will help you

in your practice of this Exercise. Keep in mind the principle that the la8t finger put down to the finger­board before a shift, is usually kept in contact with the string while the shift is made. Take the utmost pains with your intonation, and correct instantly any deviation from the true pitch.

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Copyright 1939 by A. J. Llewellyn. Imperial and International Copyrig·ht Secured All rights reserved for all countries, including the right of translation

Printed in U.S. A.

eSherwoOd <2/J{usic eSclwol C2.@ourses

VIOLIN EXERCISE 803

Bowing Vari'ed bowings

_Sections (b), (c), (d), (e), and (f) of this Exercise, indicate a variety of bowing styles which should

be applied to the material of section (a). The basic material is not difficult, neither are the bowing variants; it is desired that you try to achieve the perfection of detail which must underlie all artistic

violin playing. Review Lesson 93, TECHNIC, in order to bring .to mind again many points on the

fundamentals of bowing which will find application here.

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eSherwood <2/J{,usic e&1wol ~urses

VIOLIN EXERCISE 851

Chords It is highly important that you review the fundamentals of bowing three- and four-part chords

in Lesson 27, TECHNIC, before starting your practice of this Exercise. In violin playing, as in all

other arts, the right way is the easy way, and the wrong way is the hard way. Solutions for the techni­cal problems presented here will come to you easily enough, if you approach them with full information about

them.

fu order that you may listen closely to your intonation, begin your practice of these chords by playing

them alternately in broken and in solid form:g "" rr .0.

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Copyright 1939 by A.J. Llewellyn. Imperial and International Copyright Secured

All rig·hts reserved for all countries, including the right of translation Printi:d in U. S. A .

VE - 851- 2

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eSherwood C2Aiusic e&hool C2@aurses

VIOLIN EXERCISE 852

Double Stopping Major and minor scales, in tentks and octaves

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The natural span of the first and fourth fingers of the left hand, when they are put d?wn on wo adjacent strings of the violin, is one octave. The playing of tenths requires an extension of

e fourth finger wpward (and-with small hands-also an extension of the first finger downward),

that the normal octa~e span may be expanded to cover the interval of the tenth. (See Lesson 113,

ECHNIC.)

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When scales are played in tenths, each successive pair of notes requires a shift of Position, ex­pt for the: tenths which may be formed with one open string and one stopped string.

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As a general rule, tenths should not be practiced very long at a time, because of the possibili­of fatigue in the left hand. To get the greatest good out of this Exercise, practice only one or

wo scales from it each week, and spread the work. on the entire Exercise over many weeks.

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Copyright 1989 by A.J.Llewellyn. Imperial and International Copyright Secured All rights reserved for all countries, including the right of translation

Printed in U. S .A.

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@Sherw.ood C2iJiusic e&1wol ~ourses

VIOLIN EXERCiSE 853

Harmonics .lJouble harmonics

. The TECHNIC section of Lesson 87, contains an exposition of double harmonicswhichyou should

review before beginning your practice of this Exercise. It may safely be predicted that you will not

encounter, in any of _your repertoire material, such a great number of successive double harmonics as

are given in this Exercise, so you need not make a special effort to learn to play them rapidly. Direct

your e~forts, rather, toward great precision. "When you have mastered the problems presented here, you

may rest assured that nothing ordinarily encountered in the field of harmonics is likely to offer you the

slightest difficulty.

Copyright 1939 by A. J . Llewellyn. Imperial and International Copyri~ht Secured All rights re·served for all countries, including the right of translation

Printed in U. S. A.

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VE-858-2