R.H.

Smooth control of the bow while

changing the sound volume. Breathing con-
trol
When combining smooth bowing with change
in dynamic, it's essntial to preserve freedom and
mobility in all the
joints.
Increasing the sound is accomplished not so
much through muscular efrort as with the weight
of the arm. This is especially true when play-
ing with the upper or middle parts of the bow.
By relaxing the shoulder the arm is made heavier,
and this weight is transferred to the hand, whic
increases the sound by applying pressure, while
rotating counter-clockwise.
Having mastered the notes, one can then easily
add rhythmic breathing to the exercise.
Exhalation is represented by the symbol
l,
and
inhalation by the symbol
1.
Before performing the exercise with rhy'thmic
breathing. crlrnly and not too deeply take some air
into the lungs. When the bow touches the string,
b"gi" exhaling. and continue for four brs (syn-
chronously with the down-bow). The next three
bcr rS
,
which are executed in one upbow, are c-
companied by even inhalation to the moment of
the next bow-change. Each note with a fermata,
played with a down-bow while breathing out, can
last as long as is necessary to ensure that the in-
breath before the next phrase comes naturally and
doesn't throw off the breathing rhythm.
VI
L.H. Stretching the fingers
_ Thir
exercise, for all its importanc, contains
by its nature a certain dangei, since excessive
strajniag and stretching of th muscles can injure
the hand. Two important conditions should be ob-
served here: economy of effort and caution. Dis-
continue the exercise at the first sign of fatigue,
pain, or any other unpleasant sensat-ion.
qanied by lifting
ln
_section f,],
changing the interval is accom-
ied bv liftiitand dpiine of the finsers. For ropping of the fingers. For
i of each numbered section
the first ihree nieasut"r of
".Jh
numberei section
I
3. and 4. Both tied and separated notes-
with the whole bow.
-
'l'he
bovings for section
[Il
are rr]orre uniform
and should be self-explanatory
VII
L.H. Sliding the ffngers by half-steps of
the chromatic scale
A simple chromatic scale can be executed in
first position. When moving from the low to high
strings the elbow shifts accordingly to the left, and
upon return to the low strings the elbow returns
to its original position.
R.H. Changing strings
When executing the first number of the exer-
cise, the bow is smoothly guided from one string
to another by the hand. Forearm and upper arm
move evenly on the horizontal plane. For the first
four beats tbe arm, bowing down, moves from first
to second position, and for the remaining thr
beats-from second to third position. Beginning
on the next beat, the arm moves from third to eec-
ond position over three beats, and from second to
first over the remaining four beats.
The second number of the exercise is executed
wittr the upper half of the bow.
The arm is set up at approximately second pe
sition. Over the course of the down-bow the hand
should rise up slightly and gradually. When the
end of the bow is reached, ihe bow ie moved to
the otler string by lowering the hand, and the bow
begins moving in the oppoiite direction.
The third number of the exercise is executed
with tbe middle part of the bow by the wrist,
which moves in a hgureeight motionl Th" fourth
number combines the elements of motion con-
tained in the preceding numbers.
VIII
L.H. Diatonic sequence in every position
To reinforce the
diatonic sense, this exercise
contains a rising and falling melodic sequence,
which moves through all the-keys in rising chro-
matic order.
For clean intonation the player must ensure
that the repeated tones are absolutely identical in
pitch. Also strive for mechanical and rhythmic ac-
curacy of the fingers. The tempo of the exercise is
rather fast, as can be seen from the first number,
where twelve leasutes are taken in one bow.
R.H. Several legato and dtach bowing
rariations
While executing this exercise, you will note
that from number t number the legato phrasings
it's preferable
to remain in first position, holding
lhe
first finger on the string. ln'section
E]
t
fingers for tLe most part sUe along the stilng.
R.H. Bowings
For each number of sections
@
and
@
bowing
pglterns are given.
[4J
t. Each pair of tied notes-taken with the
whole bow. Separated notes-with either
the lower or upper part of the bow, as in-
dicated.
2. Each group
of three tied notes-with the
whole bow. The rest of the notes-
gradually pulling
back to the original po-
sition.