THE

V1o u1 IN 5THS
DEVELOPI\JG I TO . ATI O\J & SOU\JD

BY

Ro o EY fR IEND

BEARES PUBUS Hl :-JG

 ''
'

TABLE OF CONTENTS

1nrroducrion 4

Thc Co rrecr Lefr-Hand and Wr ist Position as secn on Mosc Famous Playcrs 6

Tuning & Warm-Up 12

- Creacing Frecs 14
- Tuning 5,h,- Crcar ing Frccs 15

- Sc.~lesin 5,1u 16

- Arpcggios 17

- Natural Harm onics 17

- Sroppcd No te~ 17

- Warm-up Scales 18

- Shifcing to and from Scoppcd 5"" ro Natural H armonics in 5,1,. 20

- Th c lnAucncc of 5,1u 21

Excrciscs & Practiccs 22

- Bach: Chaconnc 23

- Pag:mini: 5,n Capr icc 24

- Br.:cthovcn: Co nccrco I Opcni ng 26

- Bach: G igue in O M inor 28

Co ncerro l t" Movemenr

- Bral1111s: 30

- Pag:mini: 24 t h Capricc I Variarion 9, l.cfr-hand Piuicaro 32

- Sarasate: Malaguena I Pizzicato Variation 33

- Sibelius: Conce rco I I" Cadenza 34

- Mazare: Sinfon ía Co nccrcanrc 35

- 8 ral1ms: Ad agio 1 3 rd Sonara 36

T
St.cvcn Smith: Wh 111is llu : rn1iona lc bcbind your mcthod? SS : 1s p layiug in 5ths th c way to find 1hc n:a11tral lcft-hand
position?
Rc>dn cy Frie nd: We play an insmm,enr with four strin gs
11i:xl in three sets oí Sths, :rncl where throughou l thc
t1.1 RF: Although it ~ccmscump ]jcaLcd to play Stli. , it is acrual ly
en tirc lcnglh oí thc instrumem many hannonics lic in sets nor so if you use 1he n:m1ral full of the hnnd. Players who
of5 ths. Surdy ir is logicn l thn 1our han d and finge.r posítion practi<e this in 1en'lll with vibrato will lind thAtir becomes
should autom: llically J~J with thc rcm aining sets of Sth~. vcry casy withou l b.wing to makc much a llcrntio n to thcir
natu ral rechnic¡ue.

SS : H ow would you d escribe th c corree ! lcft- band

posít io n ? SS: Th e book is stru ctu rcd so as ro hclp ploycrs onvigare
throug h this m c thod. Co uld you tell u s more 11bo11tth c
RF: Physirn lly the violin sih c ífc1r1ks sly 011 1he: sho uld er
diffucnt stcp s?
supportcd by :1 rclaxed thumb. At this point, thc shou ldcr
joint ha.~ fini<hcd most ofir.sco nrrihuti on, leaving 1.hcclhow RF : Th c book opens with thc runin g of 1he violin ; the firsr
free to dca l wi1lt 1he wrist, h:md :mrl finge.r aag!L-..Th c cxcrcisc: is about how LO posirion che pnds so that wc can
wr isc is arguably our most imporrnnc joim, simply bc..=u sc clevelop intonotion. Then wc move to exerciscs to practise
it dichtlc< th e lin gc:r-pad angle. lí wc rc:.·d
ucc arm oct ivity 3rds, 41.hs. 6ths and octav es, hecause rhesc pmirions fil
Lo:, struight linc bctwcc:n 1stand 3rt.l or cvcn 5th positioo, within the nntu r:tl framc oí d1t· hand anJ do not gencr-
therc will he a natural foilofthe wrist. Wh en dea Jing wir h ace any l'Cmion. When we rcad, the 10th , 1hings gc1 a bír
thc ribs uf the violin. use os liulc a rm activity as possib lc. 111 tightcr, but if wc softcn thc wri.u it w ill facilitntc thc move-
che high position, rhe fingcrs F.ill naturnll y omo rhc pads. mem. 1f you observe che grea t virtuosos . they nll go b.1ck to
thc natural and te mio nk ss hand pos itio n .

SS: Wh c:n did you firs t come to rea lise the im purumc e of
1.his posirio n ? SS: What ore th c pmc1ice habits st udents should develo ¡,?

RF: A, a young conccr 1ma,1c r, 1 had frcqucntopport uniti cs RF : 1 chink they nL-cdro be awurc that therc is o sho rtcut to
ro work and perform with major twcnricth-century plnyers fucility. 1 always in•i~r on Ll1e im pur tan ce oí pr:tcl i,ing with
such as 'athan lvfilstein, haac S1crn , Da vid Oistrn kh , thc right soun d. Nevcr practis c wi1h a dea<l ,u unJ , with-
Hcnryk Szc:ryng, Ida H acndd. Ruggiero R icci, etc., as wcll out vibraco or sounds Lhat exprcss no ide.ntity. Why practisc
o• my F"riPndslrz hnk Perlman: ,nd Pin chas Zuk e rmnn, a nd with :i sound you can·1 use? I bclicvi, c,vcryonc h:u sonority,
obscrvcd a noticcab le similarity in how thcy positio ncd thc sorne typc: of cxprcssion. l do□'t likc to h ear II scalc pla)•cd
paclin orde r to produce wond c rfu l vibrato colours, intonn - w ithout a sound you cou ld u.se. 1 rcally don' 1 sce che point .
tion, a nd de.xtcr ity. Jn 1988, whcn ata compctiúo n in Jupan, You c:nn cvcn acquirc ,orne bad hund positions.
o ne of m)' felJow judg cs was Ruggicro Ricci, with whom 1 We havc n natuml rhythm in ou r vibrato. Onc can tell
spcnt mu ch of my frc.-c 1imc. I was d:tzz lcd by hi, ubility LO which is Hcife:tz, Stcrn or Oi str:1kh from hc.aring their
show :rn<lcxpla in doubl c h::irmonics, c>c:Lavc:s,
3rds, unjsuns, indi vidual rhythm. Wc sh ould be coascious that tbis
IOth s and left-hand pizzi c.ito. ft wa~ also the firs1 rime I rhythmin,1 vibrato shouln be kept inside the note, e nabling
haJ e;;verh card :inyonc t::1lk about and pructise in 51hs. a varicty oí widi:hs and colour.
 ÚIIL Fu:sot
( 1873-194◄)

P"81.0DC~l(
C1644--1908)

Fan Kitt~••
(1875-1962 ►

[ll(1NftVy.V t
1165IH?)I)
 N-'THM"1'.'IM
STtlH
11904- 1992 1

J"5CHAHmrn
11901-19an

0AVI00n"°1 OAVIO OsTa,wc &- kx:111

Chsr l.11.Ui
(1908--197 4) (1.19]1)
1-iENoM(Szu.TSG
! 1916-1908 }

Yul\JOI
ML"Mtl!li
l 1916-1999)

Gr:Nm~N [VW GOON...,_..

1191~1949 ) (a. 19 4 7)
 PIHOtA)ZUt.:tltMAN
{1. 19.48)

IS,or,,N;
SrrRN
( 1920-2001 )

lmu..1,.f'rltl..l,,W.j
I• 1945)

l'AIOIAll RAIIN
(1936- 1971)
Josi1u, Bru.
(B. 1967)
 TUN ING OP EN STRINGS & WHICI-I PLAYERS
TUNING OUR FINGERS AUTOMATICALLY APPLYTH E
TECHNIQUE?
Whcn wc tune thc open stri ngs, wc
can if nrccs.,;:aryrurn rhe pegs to :rnd Fortun :udy, wc li\'e in a rime whcn
from any imcrva l until wc arrivc at (through thc intcmct ) wc ca.o listen ,
a pcr-fcct 5th. This, of coursc, is not warcb and lcarn &om tbc mosc ru s-
che case when applying th e fingen;. cinguished mast er... \Ve can :rnd will
With talcntcd an d wcl l-taught observe rhar thcy all sharc a simil:1.ricy-:
playcrs, fingc r placcmcnt whcn sofr wrist and min imum clbow acrivi-
ry. Boca use of th e natural and uncom-
tuning (if not in tunc) is us ually 011..ly
minur ely off•c e ntre wi th its par all e.l
plicared physica.l case assoc.iaced wit h
5th; thi s makcs thc adjus rmcnt ,he grc,arestprodigies, mese qualities
:irc cvc.n more obvious.
ndthcr com plicatcd nor dis ru pr ivc,
and should b e thc .starti ng po inr of
ali pracricc sessions.

WHERE ARE THE 5™'? DECIDING THE PAD AREA

Thcy lic in e.he p:1cbof our lcft hand; A \'t'ry young Ydtuíli Mc:nuhin In thc lowcr po-..-ition :111inw:ud
1

wc mU5t simply decide on thc arc3. of with a 101.1Uyrda.ted and pcrfm soÍtcning of che wrist will 2.nswcr che
pad av.il,blc and how the onglc of left-hand pru ltlon. question of thc p.ad arca. A:5wc movc
pla.ccmcnt will affcct thc fingcr, wrist, around thc ribs into h ighc::rpm,itions,
and arm. thc wri st ang.lccha ngcs to a.n outwtird
posilion, e.he 6ngcr bccomcs flattcr,
thus making more pad availablc. Wc
narurally and aut omatic ally adjust the
dbow and forearm io prcpararion.
Gcncra.Uy onc can dünk in two or
thru arm positions , on ly using a.,; linlc
dbow activity as ¡,os.ib lc.

11
TUNING & WARM -UP
 H aving cstablishcd from thc oboe-, p iano, car or runing fork thc note A, wc commcncc- tuoing our four strlngs,
notes C. D 1 A an d E int o Lhrcc stts ofSth.$. This is alw ays our lirst con tact with thc instrumcnt ::1.
nd rcquires ca..rcful
li~tcning, bur on.ly :m dc m cnta.ry amounl of skill. \V/e Lhcn lx:cornc .a linl c more i dw.nccd by ch ccking thrc:c more
vcry basic ~ts of 5rhs a.n ocuvc hig.hu in n:uu ra.l harmonics.
wirh d1c rcsuli of th is ru n ing, ·we commcncc
Sarí.sfiL--cl o ur pn:p:uation of scalcs , ecudes :md ;¡ sma.11part of rhc:
grca1 bue va.n violin Ütcrarurc of solo, cbambcr , and orchcnra l music, dcaling wich thc extreme comp lcx.irics a.nd
dHficultit'S hiddcn insi<lc rhcsc four open strings.

lt is impommt to u...,¡k
wh:1.t hiappcns ro :di of the! pa..r!Ulcl5ths th:u remo.in bcrwecn the open strings :a.nd r.he na.tura !
hormonics, and do ,h cy also nccd tuning? In rcality thcy are of prime imporrancc and will mal« violín pl•)•ng lw
cornp lic.1tec:I, simpl y becalLSeche itL'itrumcnt is tuned in 5t hs. Th ere .tre 78 not es in d1e following exe rcist!. enoug h
if pr2ctiscd wit h co nlinu iry, rhythm , vibr.uo, and cvcn bows 10 covcr tbc en tire sil: son:n:is md pan.iras of B2ch.

0 ------ - -- -------- ----· 1 - --- ------- - - - - - - -------- - - - - - - - - - --- - --- - - - --

Do we 5r.1n thc prcpuuion

uf dc~duplui; i11tuna1iu11,

!u.mi pc.xition lnd vibr-.uo hy

4dmJtm ?JJ1
dif*Jfflrfitl?
-. -;_,1
=¿lmJ \,!I -rl
_J__,V " \.:! -.I
J *..I ~ ..,

smdying single notes, Jrds,

6chs, ocu,·cs. and tOchs wich :i.
dc-.Jd ~und in the ,~:alled
2nd, Jrd, 41h, 5th po<ilion,,
l "it, ·~7#@
...., u ~ .._J u ~ · rf '-.:!

etc.? Or :1~ v.e rnissing rhis

impomnt mgrrdicrn? "

lhis c,,crcbc ,hould be

rcpc:>tcdfor .ti chrom.iic
Ua, chcckin~ con5tuuly with
n;it-ura.lh;armonio for h.an<l
posn 10nan<l in1on..1uon.

13
 Tuning ac ross three stnn gs usmg a s 1111t ,w LII~ 1..11d 11~c u , 1111¡;c , .

(No extensions)
4 Co ntinuo fo, onc: duuma ltc octave

·-;~pbf4
4
o o 4 4
GD&A V
stnngs
V l'l--
only

"1'
..J
....
-,

...
2 2
2 2 2
7 o o 2 o l 2 1 1 2
2
2.,..---.
1
n V ri- V
etc.
PlayIhe ahove
gcrcd c~cn:i~cnnc 5rh
yicr to indudc Lbc E
'lng :IS prlntro . "
11 et c.

DA&E
>tnng,
o...---...,
o o 1
¡
1
----.,1
only
etc.

((

AJbc Eº ·
n ln)tclo , .i kttn am:ttcur violio pbycr unco . 1
shows how d h . . ' ll)Ctous y
le :tnd falls In IM n:irura l I
· n: axe
d P<>smon.
. . ,,
 TUNING S THS - CREATING FRETS

1st PATTERN

In 1hi1 simple cxcrcisc, tune

rh~ noppe<l note, .1S with tite

open )trln¡,~- h is imponant

to re1:1inthc s.1.mchan<l
poslrlon whcn not shlfting. "

► Pr.KtL'icwith conlinuity
17 n V,....--.. • ,,.,--...__ ~ . ~.... ,,.--...
and \Vilhout .uopplng In ordcr
to dcvclopa corrcc1 hand
poshiun.
W ~WiM tfrl7fitfttttHE1
1f :11

! l hc wrbt must rcmain

wll hour ccnsion.

" Whcn • narurnl facillcyhas

lx.""Cn .1.pply
t1cc1ulrct.l, imnorlry
to thc cxt'rclsc by usi ng a
vibr.uo. "
n:trrowbut n:hl.xc<l

nt±tl fidiEt=j+fF·ll
2nd PATTERN
" When parriernsl & 2 h~vc
SU L
heen prcparc<l, mm·c 1hl.' G&D

h;ind to wbat wc n.·cognbc

•" thc 4t..h pruition. "
SUL
D&A

► Pl,y <ver¡~hing from both SUL

A&E
panerns one 5th hig.htr but
11\lng d11: ume strin~➔

FINGERING 2

! See hngering 2 for ~n

cx.nnple of 1hc fingcring .

IS
 SCALESIN S THS
SUL
G&D
Evtry sea.leand ::1.rpq;gio
on
this pagc indude.s only one
shifi.

! Be awm, of rhc hanJ

p<l6irion and thc importancc:
ro position corr«l frers.

,hift1111.
Major and Minor, Domina n! and Diminished

r.xccpt in che dominant

S4..tlc,the shifi un be
1.-ba.kcdwith thc natural
lurmoniu that lic undcr thc
first fingcr. lhis .Jso applies
to cvcry l:u.1upen note.

" n
Chromatics with Shifts In 3lmo~t c·n·r-yc;u.c:. che c_hrom:uic~c:.ilc i.s thc clo.so:t wc c.:omc to th<"h.1nd po!1.ition u.sed in 5rh.s.

33122334 43 322 14 3
11 22 22 11 0
su,
C.&D
. tL§4ffeW~tt-JkJ Jdl
O 1 2 4 ~ 2 1 • 3 z

SUL
D&A +1~
Ff~ ===== ;fi ~ d-31
1
SUL
A&l

16
 ARPEGGIOS

! 1he eX:iC.t h:m<l posilion

of 1hc 5th will dirr.atc an
au .ura1c outward movc:mcnt
of 1hc dbow whcn shifring is
""luir«!

SUL
A& E

NATURAL HARMONICS

. "The
su,
G&O ti1t d
1-d
" 11 13
·¡
o
1~
nuur..tJ h:armonic.s

:uc thc only fn-ts on the

. .
..-e::
ln.sc:rumcnt. lhc note
J J
1
SUL
06A -n~ f:1
-& 1~ i-¾- ·- : - - r=F-íl
position on Clch srrinH i<
"act and will show a prcc i~

... ... ;.
,mglc for thc fingrr whcn
J J
z,_ ;. pl•ying 5th . lhis rule •pplic,¡
in ali positions. "

STOPPED NOTES
,2 J.
+' j Wo
SUL
G&O
~,o,'
; 11
-e:: º
1J_,,_; JI~
,o,O,o
! LJq: ll'i 'iimilar :a h:1nd :md

SUI

""" t ~_;
SUL
AM_

17
 WARM-UP SCALES

In the firsr proctl« session of scales, 1 have choscn tbe intcrvalsof Stbs aod octaves.Tbe key o f G is tbe easiest way
to familiarise our php;kal mcmory with rdaxed hand posirions. a.,; ill four open str ings a.re avail11bl
c for tL"iC..

11,c 5d, is our rnning posilion and th c onavc our n1uur::i.l h:a..ndfr2mc. With thc cxccptio n of cxtcnsioru. sud ,
a._,;;IOths, unisons , ere., ali oc.her intcrvals sit inside this ocuave hand framc. IOchs and uni.sons can, ofcourse, be

practiscd using t h is la)'Stem, but on ly afi.cr a rdued wrist and the narura J fnmc ha.ve bccome fully f.unili;ar.

Al1 intcrvals pra ctiscd should be p laycd using a vibrato cbat sits iruidc tbc notes and bowcd with a frt"C"
and evcn
lliinging tone wich a pu lse in 2ll tempos. 11 i11onot important, :rnd can be e.ven damaging. to pr.acti11;cwich a sound
th:u cannor be u.sed. Wc thcn use 1.his !,)'Slc:
m for ali tite rcmaining kcy signirurc:s.

511-1s
W ITH OCTAVES

" A vcry closc rd.uion to our

5tlu an: ocu,·o. 11,l.·y
are
dtc fr-.tmcof our four fingcrs.
and c.ovcr ;in .arca oí cigh1
chromatk note... Forwucl
and hn .k~•,lf'dc-<tcn'liionwill
l..rc.uc .1 "ic lcr rangc, but will
only work from 1he;olid
found.ation creucd by our
5du ::amithc ex.uv e fnmc . "

5111sW ITH 6THs

" 6th. J.tt • more 11n1p

le
intel"·,l, lhey h•ve the fm,
;u íl found,uion and ttit i111;iJc
thc OCU\IC
.
Ir.une. "

11

18
5t11
s WITH 3•os
! Bcuu,c 3,d,,
cx:tcnd from :.m anti•
clocl-wl~c pasition in
,he hand ,he wrisr
mu,1 rcln:inw:ard,
pmicululy whh thc
2nd md 4ih 6ngers.
Thc 5th.• (frm)
v,.illJoto\\ thc c:U\.l

~1tion.

5™5 WITII 4n1S

! W11h.\,J, •nJ
41h,, 11 h, no...ev,3 1y

to i.oftcn 1he wri,;,,1

C'\'C'nmore, w th:at
v.-ccan 2,tommod:ace

,he lnng,:r 'lótrt'tch

rrquirrd. p,ro!culorlr
for th< ,¡ih fingcr.

19
 SHIFTING TO AND FROM STOPPED S THsTO NATURAL HARMONICS IN 5™5

SUL
lhis cxcn:isc will produ ce G&D

thc corr«r 2rm 2nd finger

Q.Ction ncccssu y fo r 1hc
dcvdop mcm of pun:
SUL
intonn ion . D&A

• •
SUL
M [

tH
SUL
c ao

" Thc influrm.c of 5th:ló 011

che cntire rangc-of double

srnppings ts incomp.irablc.
1l 1cy.;et up che found:u-ion
on wh.ichour s,lf-ma dc
SUL
frcl5 will crea« hwd , nd 04A
finger po~irion!I.oí n:.l:a..x
:uio n.

Dcxccriry;ind inronation
bet:omc:stou..lly ac.hicvablc.,,

,..,
SUL

20
 THE INFLUENCE OF S THS

OCTAVES

y{FR--:..qg=;!
,.=i
' . To rc.ite.r:ue, oc..t:1.vt!S
are the

fr.une of our four 6ngers

and covcr an a rca of eight
chromat ic notes. Forwar d
and backwud cxtc nsion wi l.l
c~tc a widcr r:mgc. but will
only work from chesolid
Íoundation cn:atcd by our
Sths and thc octave fnme.

! 7hc wrht rnll..)trelax

inward, puticularly with
che 2nd •nd 4d1 fingers. ·1he
5th, (fn:l.\ ) "ill ,how thc
2 ◄ l -4 1 J I J l 4 l 4
cu<.t position .

21
 '
''
''

EXERCISES& PRACTICES

Thc fullowing cxmct< rcprc.scnta fcwchallcnging pa.uagcs

from ,he dassical violín rcpcrtoirc. l'ractising in 5ths will
hclp tO achievc grc:a
tc:r:1pcc
d :u1d c:&SC.
For cachcxccrpl',srart with chepr.acticc paneros, and
thcn apply thc 5ths.
By applying 5th, in ,he following cxuacts, wc .hould
build c:nough re.~c:rvern pcrform in Llu:corr«t tempo.
ORIG INA L
BACH
Cha conne
J
Et e .. er ~ 1rrr

PRACTICE PATTERNS no.l

-. :.___.-,-

no.2
W23g 3 3 dj g d i 3 3d: 3 3 u

APPI.YING 5nts

23
 Prepare this Caprice with 1he same practice palterns as Lhose used for
lhe Sths, bul in single notes as printed .
O RIGINAL
3
13 1¡ ?~ 1

• J J J □ J . J~ . Q 1 J J J JJ . JJJJ •

J J J íJ J JijJ
J J ;JJ íJ

rr r r 6[Cr
3
2
- r
-,...
Er r r e I e r e tH
3

- --i e • r r p-¡ : r
7 1 o
• 2

:- ¡§JJ ;) DadJ J '1• J Jo J j

l

4-dc ■ I"'
JJJ 1

-~
u 4
1 3 o

- • ªrbfr - t ft -
-wre~
13

~ r QN¡a!"

E 4
sJ J l::::li=i•
4

+5 J J,
-=-· 1

t:
Fflf
.!. 2 L I
CIr~~rttecreJM
-
l 2 1

1 i,, 2 2 , ,

1 o 2 4 J 1 2 4 l

J Jlj J J JJ j .. j . -JJ ¡ j !lJ JI

-#..,

19
1 1 l l 1 3

...,,
PRACTICE PATTERNS

► Pcrfonn e.ich pucticc

pancrn wirh the en tire
arra.a in 5t..hs.
:1pplying
conúnuicy and apre~.ion.
Use bowings;asprintc-d.

► Apply m cnrirr C:apricc.

APPLYING5llis

25
 BEETHOVEN
I
Co ncc rco O pc nin g

Allegroma non troppo

~ - -= == 8 3 if 3 3

gfr:~t..tr~..~..i.tr
~ ~
iu.rc:etdrn i m m.t M
1 3 3 8

8 3 3 3 3 8 3 ., ~

Sll%1tBUm
1
11

PRACTICE PATTERNS

► lhc lkctluwcn Com ..crtu

,onsists m:tinlv of ~ale; and

•rpcgg,o;, •mi wuld •rgu,bly
be u~d .u our fincst prat.ticc
\·chidt. lhi.5 CXl.crpt b onc of
m.any thou will !llimul.uc: our
physicaJ mc:mory ,1..nd
givc lli
mu,iL.;i_l
frcc:dorn.lt :ahoJcJrly
n:p~cnh thC' influcnc..c· nf

~tlu. 3rd.. 6,ru•nd oc.i,vc,.

► Pn.c.tbc with ,11..tivit)' in th<"

fingers (.J. n;;a.rrow

\ ibra10 from
1

rhc p.11d.s);this will crc;;atc an

cvc:11:anitul:uion an<l <ll"Ydop:1

singing jnton:ilion.

26
f .IT
 [~. ~~~ Gigt l~L .. ~~
V

ORIG INAL
V J
4
V
•

1 n
Jj JJSf½
 n V n n-----._
,
PRACTICEPATTERNS no.1
-.,. ..,____.., ::._...,

~
2 ' .

~ n V 2 n V......_
, r¡,..-....,2 r--- ,.-..., ,.--! ,----.._........_
no.2
P i p .., fi 1,g LJ I[ - § ILJLJILJU 11
._./ :_...,

APPLYING 5THs

, pcrform
Aficr che pr:accicc p::mcrns
t.he cnl'irc Giguc in 51h11;
1 performan ce
<tylc.

29
9 3 V V
r, r i ~ l l
"' 4.

3 poco riL. . . . . . . . . . . . . .
~
fB$5 cf ®
21 ,-~ 2r r 2r "' 3 ,- r _...
s er¡evr ttr enr &r&'·rm'r rr rtJtrru
,-L 11 ., 3 2 "' 2 r-,.
11
1
dim.

25 • • · • • • · • • • 2
2 ,-. - r,,, D,
...:,,
 ~ r--.. ,,--, ,..,.._
kV] 'U U jf:i -.a Ll jEf i,LJ&°
n Vr: l'l-,.. ,--. ~ --
PRACTICEPATTERN
S no.l =tf& :J=ilff
r¡,--,
no.2

APPLYING5n,s

31
 PAGANINI
24 ' 1' Capric, 1 Variation 9, Lc:fr-hand Pi1.1.icaro

ORIGINAL

PRACTICE PATTERNS
no.1

" Afrer prlcri$ing 211

par«rn>, play uuough che
no.2
V'1..rfadonin Srhs using
,,
vibrato and .sonoriry.

no. )

APPLYING 5rns

! 1.eft-hand pi1.1iclfoc.:1n
he pcrformcd with grc.11ca~
by u!'ling d1e:i<lcnriul fingcr
pO!>itionc..lcvc."lopcd
from
5rh,.

32
 0
~Ait.
lVlalam" •n \ n • .
ª
-=--....
lTa.1cato Vanation
· ·
....

arco
8
p\z:z.
+ l"I
3
n
arco

4 arcon
n A•

)RACT \CE ?A.TTER S

no.\
ll
·fub. nti1üon pro,it\c,
i.n a.nui.ini cxcteisc for thc
\en \u.no.. \t wi\\ show "cry no.l

dc;u\v thc imrort1nl.C of

,,
<"ith,;mu thcir in\\ucncc.
► A.pp\~ th~two ¡n1u;rn,
to tbc cnurc cxtr;u t 111 S,h,;
pr,Kti-c unül c..urc.

A..\>?l'i\NG 5T11S

« Mtct thc pt;\LtÍLC p:1.ncrn!>.

\"\aythrouwi thc bir in

'\ths with '°'hr.ito in conc.cn
n
.,,)"k-

• l V
\ \t is ,cry icnporu.nt to u!.C
1he bo'-' ini; ¡\\u,u·;u.-.l • .._,tbi\
IS • ~
-
- ~glll' ·---
I'

.,, \-,e\\'ICO WtlCI\ " '-.;!

r~u.-m"' 33
\app1ni L
\uC ºº" \\ith tbc
pl71ÍG.lt0 .
 SIBELIUS 1
¡ 1• Ca dcn1.a
Co ncc rro
1
~ ~ ~ ------==.J
ORIGINAL

1 l 1 ., 1 .t
1 . ~ 1

n V
PRACTICEPATTERNS

! ·n,¡,pmagc is playcd un
no. 1
J édd ,a a 1d 11

onc string using almost in

no 2
~mire lengch. 11

APPLYING 5rns
SUL
G&D

► Pr.ictisc with thc

samc pancrns on
rhc threc rcnuinin~
~uing:..

SUl
O&A

" USr thc m inimum

lrm 1uivity in
ordcr to cover t he
fingerbo2rd with
."
morec.:l.SC'

34
 MOZART
Sinfoní a Conce rtant e
j
ORIGINAL
u
3 3

• 17',
6
1
~

-
PRACT
ICEPATTERNS no.1

•' use mllllmum

.. arm
activil)\ l' racrise with
conri nuil)' of vihraco in
ordcr co me 1hc corn:ct
ar l iu1btlo n.

no.2 •

APPLYING 5THs

35
 BRAHMS
Adagio l 3"' Sonara

ORIGINAL

PRACTICEPATTERNS
Aftcr pr.u::cising Sul G&A,
do thc following cxcrcises.

APPLYING5rHs

!h j.¡ import.anc to apply 501

C& O
1 ll("Jutiful~nunJ 10 .111
p..incrn, A \.Olllinuuu~
vibr.acowíll s«.urc 1hc 1...orrcc.
1
finger position.

36
 PAGANINI
11" Capricc

1T o

t •~1;r&tMfft:W
1
•1 .! 1,
fttdftrm
rr¡,J T -- 1
ll"------------ · ·· · -· ··- ···-···-···-
12••2
----1
11"1 .;..
R
PRACTICEPATTERN

APPLYING5THs

)7
ORIGINA L
[ MENDELSSOHN
C on cc rro

PRACTICEPATTERNS

'ilh po.,ítion

no.2 ~ 'l:iilfft1!fFEfi t:{ff -retfilq!ftr=~~~

1 Y ,--.. :-~~ .., , --...' ,-.
r.. lj"...e.~· :""'\ r~n ~:
1 O

APPLYING S" " 'ilh fl(hllH)ll

.a 1!.t po,1llon
'v.-:7 1
~
~~ 4urf=Eí.J1=f±t~
~f+~ UF
~
1

11

36
~IGINAL

11

PRACTICE
PATTERN

ING 51115
APPLY
 = m==== "'

=>RACTICE
PATTERN
► u..,,rht"~une: 1cdiniqut :l\

tlr l'.ig;uiini \ 51hC-i¡,rkc.

\PPLYING 5ms

11
 PAGANINI
24' 1' Cap rice [ 3,J Variarion

ORIG INA L Repeat on Sul D&A - A&E. The only Ongersused on this pageare 1SIand 4th.

SUL
O&G

twfilfll mm'>mPrnffi1
APPLYING 5 i HS

► ht flngcrthroughout.
...___.. ~ ---- •...__f --~ ~ '---' '---"

·~
3

► lntrodlK.C,he LOrrcc..t
h•nd fi-ame.
0<.1avc 4--m-f:1-m
.:..__.,.
m
·~ □ 3nmt:JEWE '---"" ...__... ...__.. ..._.. ...__... 1

fa:~ª~~
411ÉÍ) QJ1,~
! 'Jh<4th 6ng<rmust hit with ~ t±Fff?
we]J1~
1he pad

~maserr:;é+k
....
.._...
----
lffl=ffi=f(-q?;~ ...
J
----
...._.. ....__., .._... .._..,

im 1 ~3J.~..._...
'--
fflifN..._.., tR
..___...i: =11

41
 SARASATE
Zigcun crw C'iscn

i\.'\ockrato
V

?-p JIJ

"·11,b pa~sagc rcpr~nt!t a constant problcm for mo!it pbycD. Jn rcality, it is

;i quc:,)tion of po.)itioning thc hand com~uJy with ;u linlc movcment in 1hc
arm ;¡5 ro~sihle. Pr.11,..tÍ<tC d1'" OU;t\'C d1roma.1ic "il:.ale5
in C, and C kccping
tlu· finger.) a~ do.)c lo thc- fingcrboard n p<>Miblc.Apply thi~ .)ame-d1.:~matic
.scalc aclion and po!iition whcn dc.tling v.ich thi!i and all similar mm.

O RIG INAL PIECE BROKEN DOWN TO FING ERINGS AND RHYTHM

r---------
11

APPLYI G sn"

Ll l

42
ACKNOWLEDG EMENTS

1wou ld like to than k aJI my students who ho ve helped me with the book

during the last couple o f yea rs.

Orig inal publi shed by

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rctricval systcm , wilhout t.hc prior pcrnilision in writing of Lhc publish cr.

Firsr edirion

Di gital Edition by Erudit c Digiral

ISBN: 9781916445925

Crcd ils: p.6 Pablo de Saras:m:, Fritz Krcislcr C, Alam y.com ; C a.d Fks::h © Gc n y Imagcs
1 p.7 David Üi.<rrak h & Igor Üistrakh © Alamy.com: j a.1cha1-leifm; i:> Süddcu<SC hc
I
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