MARK YAMPOLSKY

VIOLONCELLO
TECHNI
Edited by GORDON EPPERSON

U N fVE R SA L

UNI VERSAL MUSI C

P U B L I S H I N G C R0 U
P
MAA YAMPO1KY
VIOLONCELLO
TECHN
R•nedby GORDO EPARON

This publication is not

for sale in the EC.

O 1971 Universal - MCA Music Publishing, o Division oFUni*efsal Sti«1ios. Inc.

Copyright Renewed

ux‹vmRsA«
F
UNlYERSAL MUSIC
 Preface

The opportunity of offering this important work in violoncello pedagogy to an English-speaking public is yet another
illustration of how much w e have to gain from “cultural exchange.” I do not know of another manual in the technical liter-
ature of cellists that so admirably combines brevity and compreheneivenese. Beyond this, however, Yampolsky accomplish-
es the still more di((icult taslt of marring the ’’dry bones" of our calling-scales and urpegfios - musically attractive in
the settings he has provided for them.
Hhat could easily have been a mechanical repitition of patterns from key to key has become, under the author's
imaginative treatment, a richly-varied diet of rhythms and bowings. And where many manuals rely upon the teacher's ingen-
uity to multiply examples- • highly calculated rislt -Yampolsky himself givea the variants in generous supply.
The author's introduction to the work statee his aims lucidly. He is not rigid in prescribing the use to which the
material of his book is to be put and he suggests that some teachers may wieh to present the scales in a different “order'’
Hell and good. I can foresee that othere may wish to modify fingerings, particularly those who make greater use of “exten-
sions” than Yampoleky; again, such changes are eaaily incorporated •nd will in no way lessen the value or wide useful-

I therefore send it on as it came from hie hands, confident that my enthusiasm for Yampoleky's admirable book
will be shared by an insreaeing number of celliats who will find it an indispensable technical aid.

Gordon Eppgrson
 Introduction

The study of scales and arpeggios in all their various bowed, fingered and rhythmic combinations is one of the
major factors in the development of the technique of the right and left hands. The present volume aims to lighten the load
and save time for the teacher by giving the student convenient material for daily work in these areas.
The collection includes scales; broken thirds; arpeggios of the tonic, subdominant, dominant seventh and dimin-
ished aeventh chords, as well as augmented triads and “short” arpeggios; double stops in thirds, sinths, octaves, and
tenths; triada and scales in chords.
Because various bowing, rhythmic, and finger combinations have been included, this book can to some extent
replace etudes.
The keys are arranged in order of increasing complexity of signature: C ldajor and A ldinor are followed by the
keys with one accidental (G Majot, E Elinor, F Major, D minor), leading to those with two sharps or flats (D Major, B Piinor,
B-flat ii4ajor, G ii4inor) and so on. This order, however, should by no means be thought of as obligatory and can be
rearranged at the teacher's discretion. It is quite expedient, for example, during the study of a concerto or concert piece
to practice the corresponding scale with its related material as given in this book and, at the same time, to incorporate
the bowings and rhythms of the piece. Furthe*, after studying each key at first in the simplest and most elementary
bowings (as shown in C I ajor), it is beneficial to work out in each key the bowings and rhythms presented in this boolt
with all the other keys. The material presented here can be used, under the teacher's direction, not only in its fullest
coriipass (four oct-
aves), but also within the limits of three or even two octaves at earlier stages of the student's development. Hamonic minor
acales heve been omitted in order to keep the book to a reasonable size; but the student should play them, nevertheless,
using(with rare exceptions) the fingerings of the melodic minor. It is important to note that the fingerings for double-stopped
arpeggios are identical in the major and in the minor.
The accents in this volume are not intended to indicate a louder tone, but rather to aid in the attainment of rhyth-
mic accuracy by means of a slight stress.
When a choice of fingerings is given, the acales should be practiced with both; but one should go on to the second
fingering only after the first has been mastered.

Part YampolsLy
Abbreviations

W ... 'hole Bow

L . .. Lower Half
U . .. Upper Half
Al ... Fliddle

{......A String
g.....D Striog

/.. . .C String
 SCALES AND ARPEGGIOS

CMXjOR

8owing variants tor No. l

Broken thirds

a Tonic

b Sub-dominant

Dominant seventh
 Triad with inversions (short arpeggios)
RL

a Yariants for No. 5

Thirds in double stops

Additional exercises tor No. 6

Variant

* hi#tc: To avoid glissnude and to secure an exact shift from 2 to 2 and from p to make preparatory shifts, through the in-
termediate thirds, in thfs manner:

Sixths in double stops

Additional exercises tot No. 7

aaccnding

etc.
* * * *
Variant

* Note: For security in shifting and exact intonation, move through the intermediate sixths in this manner:

Note: To obtain correct intonation, prepare each double stop by playing the broken octave first:
 Broken •thirds and octaves

£ktave arpeggios
a Tonic

10

b Sub-dominant

Octave scale (alternating fingerings) BroLen octaves (same fingerin

30

etc.

Tenths
40

Arpeggio in double stops

Scale in chords

Chromatic scale

Sca_le in natural and anificial harmonics

Nett: The “natutal” h arm‹xi ics are represented by round white notes and are produced by placing the finger lightly
on the indie etcd s tring at the point shown; the “artificial” harmonics are represented by diamond-shaped notes and
are sounded by placing the finger lightly on the sWing above the (irm!y • pressc d tones (shown in black) played by
first finger or thumb as called for.
Actual pitches (3 -8ve Scale)

18

Produced in this manner: I I

m tv in ° m II

(Panic fingcrings June:end ing)

 A MINOR

H L

W, then U

Broken thirds

Arpeggios
e Tonic

b Sub-dominant

Diminished seventh

Augmented Miad
 triad w ith inversions (short arpeggios)
1 R*
w‹,L a

Variant

Thirds in double stops

0 i

Sixths W Fr.

Notc: For complete mastery of No. 8, these sixth s should also be practiced as double stops:
 Broken thirds and octaves

10

a ’Ionic

b Sub-dominant
etc

12
etc.
Augmented tr a d g
i

t3
 GMAOR

Variants
Pt.
Fr.

N etc ' Nos. 1, 2, and 3 should be played‘with a finn bow and secure grip ({ortc) .

Arpeggios
a Tonic

The lower fingering to be played entirely on G - string.

b Sub•dompinant
2

Usc same fingc rings on all strings.

Dominant scventh
? 4 1
 Trial with inversions (short arpeggios)

‘ ” I ” ”
* Note: It is suggested that (WO )M}WIfl# styles be use1) Lower half, with the shortened notes played ”flying staccato”
2) Upper half, with a sharp martellato for staccato notes.
Yariant

*1'4ote: Play these witl. ahort strokes in lower half, middle, and upper half of bow.

Yariants

Sixths in double stops

‘N etc: Use same bow ing variants as w ith thirds, in No. 6.

8

0gg

Broken thirds and octaves

as

s Tonic
10

b Sub-dominant

Arpeggio in doubly stops

/Ydditional exercise:

etc.

Scale in chords

12

*
 CMINOR

*N ote: In a moderate tempo these exerciaea (1 -6) should be played spiccetc, the bow to be held lightly by thumb, index
and little linger; at a faster tempo a short, dtteche (snutille), weighted with thumb, index and 3rd finger should be used.

Thirds

Arpeggios
& Tonic

b Sub-dominant
£8

Augmented triad

simil e
Triad with inversions (short arpeggios)

Variants

f'or supplementary cxcrcises, see a and b above.

 Thirds in double stops

Sixths in double stops

Fr.

9
pesnnte

Variant

Octave scale (alternating fingerings)

Tenths

*l'or supplementary exercises, see C - major section, No. 12, (p. 7).
gO

F‹.

Thirds

*Note: Increase weight and length of bow on accented notes.

Arpeggios
a Tonic

Variant
 21

b Sub-dominant

Dominant seventh simile

Variant

Triad with inversions (short arpeggios)

Fr.
5

Variant
 Thirds (double-stop fingerings)
pFr.

Sixths

8
*N ott: After learn ing 6, 7, and 8 as indicated, play them in double stops also.

Fr.

Arpeggio in double stops

Scale in chords
nV

10
 DMINOR

Variants

Thirds
Fr.

Variants

Arpeggios
g Tonic

b Sub-dominant

Oiminished seventh
ij Pt.1 Fr.
 Augmented triad

Triad with inversions (shorC arpeggios)

Fr.

Tbirds (double-stop fingerings)

7
 D MAJOR

Variants

Thirds
w F t.

Arpeggios
a Toxic

b Sub-dominant

Dominant seventh
 Triad with inversions (short arpeggios)
r!.

Thirds (double-stop fingerings)

Fr.

6
 2VCS

etc.
Broken thirds and octaves
10

b Sub-dominant

Dominant seventh I -Ii

Octave scale (alternating fingerings)

t2

t3
Arpeggio in double stops

Scale in chords

’n 1
s n n

n
# 1

2
30

BMINOR

Variants

Thirds

Variants

Arp gsios
a Tonic

b Subdominant
 Diminished seventh

Augmented triad

Triad with inversions (short arpeggios)

Variant
 Thirds in double stops

Additional exercise
Play easily, without excessive wrist and arm mo- er :nts.

Sixths in double stops

Additional exercise
Play eaail , without excessive wrist and arm mos-caients.

etc.

CA:taves

Variant
 Broken thirds and octaves

a Tonic

b Sub-dominant

Of:tave scale (alternating fingerings)

t2

Tenths
 (Play lightly, both dctoc he and spicc etc)

Variants

Tbirds
simil

2
 Arpeggios
a Tonic

b Sub-dominant

Dominant seventh

Triad with inversions (short arpeggios)

9e

Thirds (double-stop fingerings)

6
(Play lightly, both detache and staccetc)

Sixths

Octaves

8
 S7

Broken thirds and octaves

z Tonic

10
simile

Supplementary exercise :

etc.

Scale in cbords

12
 GMINOR
WFr.

1
Fr.U

Thirds

Variants.

Arpeggios

b Sub-dominant

"“
 39
Diminished seventh

Augmented triad

I'riad with inversions (short arpeggios)

StOC C gC0

Thirds in double stops

 Sixths in double stops

Broken thirds and octflVCS

10

Pt. Fr.
Fr.

peggios
a Tonic

b Sub-dominant
Fr.2

' At the beginning of thi s c xerci se the thumb should stop the D - string at E .
 A MAJOR

Variants
n Fr.

Variants

etc. etc.
Arpeggios
a Tonic

b Sub-dominant

Dominant seventh
T riad with in vers ions (short ar pegg ios)

Thirds in double stops

Sixths in double stops

simi le

* Note: l'lay with the lower half of the bow, using "flying staccato;" or the upper half, using marte llatP.
 Octaves

Octaves moving by tourths

Supplementary exercise:

Octaves moving by titths

Supp1ementary exercise:
Octaves moving by sixths

Supplementary exercise:

Scale in chords --
 F-SHARP MINOR

Variant
nL Fr.

Arpeggios

LM H L F.
3

b Sub-dominant
 Diminished seventh

Augmented triad

Triad with inversions (shott arpeggios)

Yariant

'
 Thirds (double-stop fingerings)

Sixths in double

Octaves

Octave arpeggios
a Tonica "

t0

b Sub-dominant

Diminished seventh ppg

 47

E-FLAT MAJOR

Variant

Thirds

Arpeggios
a Tonic

b Sub-dominant

Dominant seventh

d
48

Triad with inversions (short arpeggios)

Thirds in double stops

6
 Sixths in double stops

7
simile

Octaves

Broken thirds and octaves

Octave arpeggios
a Tonic

b Sub-dominant

Arpeggio in double stops

§ 2

Scale in chords

U 247
60

C MINOR

Variants

Thirds

Arpeggios
a Tonic

3
b Sub-dominant
 Diminished seventh

Augmented triad

Triad with inversions (short arpeggios)

Yariant
 Thirds in double stops

LTh •s sequence may be omitted i i desired.

Sixths in double stops

Octaves

Octave scale (altcrnacing fingerings)

J0
 EMAOR

Arpeggios
a Tonic

b Sub-dominant

Dominant seventh
 Sixths

2 G

Variants

Octaves

8
 CBHARPMINOR

Variants

Thirds

Arptg os
m Tonc

b Sub-dominant

Diminished seventh
68

Augmented triad

Triad with inversions (short arpeggios)

Variant M
uFr.

Variant

Thirds in double stops II-R

Sixths in double scops

8
9

Broken thirds and octaves

t0

Octave arpeggios
& Tonic

b Sub-dominant
80

A-FLAT MAJOR

using tqwer epare the thumh on

tke 3rd finger preceding Eb.
Thirds

Arpeggios a Tonic

b Sub-dominant

4
 Triad with inversions (short arpeggios)
L$4 2

Variant

Thirds (double-stop fingerings)

Fr.

1XC@S
63

Occ2vews
Fr.

Broken thirds and octaves

k Tonic

10

h Sub-dominant 3
9

Arpeggio in double stops

4.n. II

Scale in chords

12
 63

F MINOR
Lj

Thirds

Arpeggios
c Tonic

b Sub-doninant
 Augmented tr iad y

Triad with inversions (short arpeggios)

Variant

Thirds (double-stop fingerings)

Fr.

Yariant
 65

Sixths

Octaves g
r

Broken thirds and octaves

10

Octave zzpeggios
a Tonic
Fr. >

b Sub-dominant
G6

BMAjOR

Thirds

Arpeggios

b 8ub-dominant
 6T

Triad u ith ins'er sions (short arpeggios)

42

Variants

Variant

Supplementary exercises:
68

Thirds in double stops

Sixths in do•ble stops

Dmzvcs

Variants

10
 68

G-SHARP MINOR

* i\rote: Nos. 1 -6 to be played lightly both dctachr and staccato.

Ttdrds

Variant
 Arpeggios
6 Tonic

b Sub-dominant
N4

Diminished seventh
N

Augmented triad

Triad with invers ions (short arpeggios)

6
 Thirds (double-stop fingerings)

Sixths in double‘stops

9
78

D-FLAT MAJOR

Yariants

Fr.

Arpeggios
a Tonic

b Sub-dominant

Dominant seventh
 Triad with invers ions (short arpeggios)

Thirds in double stops

Sixths in double stops

8
 Broken thirds and octaves

10

h Sub-dominant

Arpeggio in double stops

Scale in chords

.
 T6

B-FLAT MINOR

Thirds

* Note: In upper ha1 f of bow , play short notes in heavy staccato: in lower hal f, “ fly in g staccato

Arpeggios
a ’1’oni

b Sub-dominant

Diminished seventh

Augmented triad
IM 1
76

Triad with inversions (short arpeggios)

Fr. 9

\/ariant

Thirds (double-stop finger in s)

7
8

Octaves

s Tonic

b Sub-dominant
 F-SHARP MAJOR

Thirds Fr.

Arpeggios
Tonic
3

Sub-dominant

Dominant seventh
 79

Triad with inversions (short arpeggios)

ThirdS (double-stop fingerings)

Fr.

6
80

Sixths
Fr.

Scale in chords

10
 8i

E-F£AT MINOR

Thirds

b Sub-dominant
8¥

Diminished seventh

Augmented triad

Triad with inversions (short arpeggios)

Variant
 Thirds in double stops

Sixths in double stops

Octaves

Variant
 I SBN 0 - 7 5 79 -04 3 3 - 5

78075904332

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