The first thing to fix in your mind before you begin playing this scale study is the signature, and the best way to impress it upon your memory is to name the intervals of the scale viz: Ab-Bb-C-Db-Eb-F-G-Ab. Learn to pronounce and play the letters as written and do not say A-B-C-D-E-F-G-A, but say Ab, not A; Bb, not B; Db, not D; Eb not E. If you always name them correctly you will play them correctly.

No. 1 being a scale study in common time with 4 groups of 16th notes in a measure, should first e practiced by slurring groups of 4 with whole bow, then groups of 8 and finally groups of 16.

No. 2 is a bowing exercise in arpeggios introducing two styles of bowing. THe upper slur binds 3 notes together, beginning with the 2nd 16th note, slurring 2nd, 3rd, and 4th notes; then new slur binds 5th, 6th, and 1st, and so on.

THe lower slur binds 6 notes beginning with the 2nd note of each group extending over to the first note of the following group which being dotted must be played staccato.

No. 3 is a staccato study in 3rds, therefore should be played as though written in 32nd notes followed by 32nd rests, hence with very short strokes of the bow.

No.4 is an exercise in 4/4 time to played moderato. In the last bar of the 1st staff you will notice that G is marked to be played with the 4th finger instead of the 3rd. This is done in this particular place because all of the other notes in this measure are lowered by flats until the entire hand is moved back a half tone, so that G natural is a full half tone higher than the rest of the 3rd finger must be used to play dB almost immediately afterwards it is considered best to play the G with the 4th finger in this particular place, but G occurs again in the same bar where 3rd finger is used. THis is called cross-fingering and is frequently employed, as will be notices to facilitate fingering.

No. 5 is merely another study in same key written in 8th notes which may afterwards be played staccato, or slurred in various ways to practice.

In bar 2 you will notice that Bb is marked to played with the 4th finger on D string. This is quite a long and difficult reach but it is important that you master it as it is done to avoid jumping to the A string for just one note Bb. It is always preferable to remain on same string as long as possible; also notice cross fingering in two different places.

No. 6 is another study in 2/4 time employing short slurs to be played in polka or march time. There appears to be nothing in these exercises that you are not already familiar with except the cross fingering in the 7th measure of each strain, therefore you must play 4 16th notes (one group) to each count counting 4 to each measure. N.B. When writing always mention instrument. Confine your questions to ONE LESSON ONLY. Give name of lesson, number of staff, number of measure, and be brief. Give full name and address.

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© 2003 R. Fingerson
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