Professional Documents
Culture Documents
Hrabe - 86 Etudes
Hrabe - 86 Etudes
X
X
LI RABE
X]
X.
XXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX X
x--XX
XX
XX
XX
XX
XX
xx
*
x!
XX
>ix
)X
S6ETUDES
fi
xX
XX
XX
)iX
XX
XX
R
ll v
I rll
ll
JSTRING
FOR
I \/
XX
XX
XX
XX
X
xXX
XX
-vtrrlrt --
BA55
X
x
(SIMANDL_ZIMMERMANN)
X
--.-'.'.'
x
XX
XX
X
XX
)iX
xX
XX
X
,ircryfi
BOOKI
&Dt
?,lsrlr
x
x\_
XX
xt(
XX
XX
XX
X No.t72r
rtv. r,'
,rJr-----^-X
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
X
X-.xX
INTERNATToNAL Mustc coMPANY
*
AVENUE
CITY
X
--,X
X X XX XXXXXXXXXXXXXXXXXXXXXX}C(xX XXXXXXXXXXX XXXXXX X
5I
FIFTH
NEW YORK
8 tsTuD11
t \t
1.
! t'+
2.
r-!
|4 4
r---Ft
ALAI-SA
?.-1
61l
L-4
l6-o
n! TK
- ----
g-l z tA
LAq.
LTZt
Copyright I9>9 by International Music Company, New York City
ln?
6--! ?t
/->
t,
T^Tffi
ni.,mlAtE
r L\z
*2.* t
Various bowings
tr/=\'3t
?*+
rlr
L7 2L
tatl
l,H
.)
L*-'#,7'
Lt
!r!Alr
l r\L)
LL z 1
o
1
r-}-l ?
rnL 1-t
t72t
Andantino
7.
dolce
,7?W
r--?-]
ILt
,4f
f
. o 4
| 3 {. | 2
.H,- 3 tt7z
i: #^zlx tz
a,
l-<il++ ooH
Hii
x*lEra
L2
r4^t^4
9.
, ,.zLL& Lz , ,zlLi
10.
=7
1aa1
LI lL
--
t, ?2
Allegretto
, LLi
12.
L
'rj
l:" 1 !,-. -n
13.
17?1
7; 'I
-;)-x-r- :-\
T--
r?1
+,,
4 t ^^o
41t02^^
11.
L.3,!
L
t7 2L
r+-A
3, z 12
t to-.-\
3'
I
10
Moclerato
15.
L72T
ll
Allegro moderato
D string
at4
16.
E7
r,
17)1
2z
1;7=:'
t2
tx
Andante
17.
u.ft*
,6
-*_=_
/.--
teil,
.-_
r41f
18.
L72L
-?P
t3
iLLz t i t
L9.
Z ------?
a.
tH
| -':--
l=.-
L7 21
yP!=
--____
-,-4
y\4s
r;--..
q aJj:-Lz
t4
tm
L7
2t
^m
t5
21.
---
t:- *r
L72L
n n4 r:n;i
t6
22.
lL
L/ Z,!
| 4z
t7
3--z
:7 2r
t?it
18
21.
[--klr r
"ALo#:
r:'1
oa-
2a ,
n"T1
i
14 t !
*r-.^'l{
o r-----:_-r
2'z
-.
4q
, \!i
2-,-!
t1{ ' Hn
Andante
L LI*J
-- LZ {-
25.
o 4l
:-v
172t
A:--^\r
a.+
::
sl
L9
io
nc .;*Gc
1^'l
"!f42
-=---Ternpo ad lib.
alt
\_--__
I t)-2 r.z
t1-+
--{
26.
t\
"---'^
t;*3rn'
----C------r
ttt
TU<,
\--{
LIZL
A string
o
20
,^.
4l
.42
r;_
lrlL-r'.^-r'la.
i
.ra?4
*rPi;a:44
4,^.
4,n,
>-t2.. ttft?,tl
,t.
II
4/^\ I
IF
z
\n?1{n?'
t721
2l
Scherzanrlo
Y-
\,
l1
\/
.z-. V F
I (.t;'Jll
\/
etc'
z7
28.
L.\6
L72t
22
T ?'
f zLT
t2
-a
1!
T+r
,w
I
44
,+y
'+vo4
17.
.)
h41tv
I ZL
27
,+v
4q
/W
y2
/+y
,w
,t
21
Ary
27
*y
t
+y
14
r::
^{
02
*y
L4
31
,+l
,i
L'v
l rIII
23
?ffi
-
+E
/--z
L72l
4 -,
--,
21
31.
leggiero
a-? r'.
d.
z<1
j^)
-,
?.;ti.t
'i*n n
-i.a
p+
f----
La
"tr---!
,a^:-
1z
-
t
4,
canta nda
z
,w.
'*
4 t,^'
4t^
h cr*r
/-:
2,^,!
r-:
fl,li::
lt
h i .-' \
4.
3.^;rrLr,^lc
1a\
4
+Ac a
4l
a7
a:^
i7 21
rll;\
aa^
;!!;-
-.
a.
33
32.
tz.t-
rrl'1
rr
ll
I|
nI
lta^a
l'1
V*
tf
?1
33.
ADG
, tZLi
L72l
{L3lii
26
Maestoso
31.
o4!{r
L'"i#'
t72t
l-"
27
Andante
l-
35.
_G_xr
r_1
r
^
,m ?*a
I l--3' '*
|
L-__]
2,, t-+arI
i-E>;
=...I
/'-
'I
28
36.
4t4341
!/ar
29
37.
+
225
-zJj
\Lit
8------
l3:k:3i
2,t z t
38.
t72t
s---
+t7t
r"- 4
30
t r-_-----a t
r
2
,.
39.
rffi
+0.
,.4t424^zl23
if4=
17 21
- --,:::--
---
--
----
2 t0424
--
::
on4
3l
Allegretto
11.
t,zAzl
3:,h
232Lsl
lt2I2t
12
12.
'L
)J
13.
A_ _ _ _
I
L
z.L1
;*6i
H+,
!*
ffifi
8------------r
)
i
-<-\
r- ^
I-----1
i#'.i:
)+
FI
Andante
a--
-14.
cantandr.t
-\
E .t
:-., --
r4t
fD>.
-f=\
'--r+<1
D_._*-
t-
-)
:--\
4
Ir
);
+'zi err-3
tl
2t
-/z
7)1
Z4
r11,F,
o \i
z-!
n^.
--l
.LE?9.
------
8 E,TL]DE,S
Edited by FRAI\Z SL&IANDL
\ett /y edited by FRED ZL|\IMERMINN
( Sce
page)
Allegro
t4
15.
+22 1
5.n
il;;;,- ; ;i ;; l
T;Y;;;;?
nv
Vn
!,2
FI
nAt""-12-
'1,
t ?
1722
Copyright tg>9 by International Music Company, tr-ew York City
l r Li;
iI
l2
\
Allegro moderato
17.
'r7
22
zL
48.
I.!z t t
?-.
'
l.-{.. 1t
1'
+9.
1:^';>C
2t
1722
r?
{.-.;
'i;
"--'-'-.t"-,--'.-'-;"-;--;"'
?1^o jd.f,,i
9""';-';"';";'-.
i'--: oi
-)
8---'-'-----'-----'------"-----
013 LZIa"rn'
1i1o
'-7 22
+-2
Z-,Lf.\
1t\
,fa^F |Ag*#:
51.
2
r/--
--4
tr?
2
=-\
'<r2,.--L.!*fi
eT4
( d_i
l, 2 ---
=. : zi
rl:)i !*l
-ft'.+;
"
;6i
Allegro moderato
,<>
52.
_ LE
I t 4 9"
-----'-'--'--'-'----,
a o
Bi
zL1
:\4
1722
--r
I--+
tn-;* ;''ri
8'------:'---------'--.
'
1!:
z t ? Z:2,r,
53.
I T
1-7
22
i.i'
51.
Ut
t! :t8
t z
__3__-
55.
,,r45)
a \Zr.
Lt
!LL"
LL:
z !2\
L'11
LoLar E2-L
Lt aa
l! \^iL\+L!
Allegro moderato
L *_!
,#
5.
nu4i
l+l
,n,Lt?-:H:i
>z 2l
.:
L7 22
10
L|r rz:z
12 ,4
z\z
simile
z 2z t 212 t
5/.
-Fl
AA
zlz
t zlz1z,4l
rLr.r1rro2
z2z6z2zz O
| ?r
la::zL\LLbl
{r
2+
58.
-------__---__--1
|
'+1
'
r^>11?
{i,i? 24,T
Yz
yg
1722
.,3
ar
z.\--z 1z
r
:EE
{8^";----'_'-"-i
fiqL,t
t?
.r
^t.
l1
.-n
il
trir
11
59.
-vllT t
z+
tL*!
k o,\#*,
\7 22
D{
12
Moderato
0.
;Cq
atemPo 1
pi
o!
->
t .-- z9-,
gr
i2^
t4^
H
z)-
.1
Z /--
l/2
,?r.*;
Pos.
.^,
tt
a^t
a tenpo
t +A ) .---
.-> r?t
1+-{rr ?a-lJ?
rtard.
t722
llir
nosso
!'3'rJl?
4+!nt
! ,,^-'
4^,
L3
senr?re legato
?*
12 t^:-l
L _4:
| 4
o41
\ ^;tl
1 t4 z \^},-LrL
L 2 -2
r!^2
1 4 \ -i^Lrl
!722
t4
62.
^L
Lo
4a)
4_
//
4..i
t*
:.t
.-\
i
f----t
r,rDid
e- a7-
t722
2:!
r-
4_2+L.<=r)
6--\
-j1-:
,)
4|
'a-;*
2
"Ltii;itz
'-I llt!
t,^! r;
1,6
14
,.
15
Moderato
63.
o-L ''
L2
<L-C-tr
t722
-,*t22
z)
6 .:,:
t6
"'*-_]++
o)+
,)a
'#t;-'..
4L 4
'/i5-\
t2
;l 123
O,C
r
a
-,
t2
i#{'#t
,.*-
17
))
2L
LJ
L4
+l
*:*<
1o
nt
{= atiz
tfi,*
:*n2
ott*,*1L23,
24
LJ
t_
r-,
413,
r--.
#*l
alq
l7
5.
*
'lf
\4
ftj.t,
+
, I Lo R------------'
ffi* l"C _gr'
lEi5i2o,
, t6o
l.-D
!iri;.r.a
7))
r4
+1.
i 1 24
]li
+ r,a2
18
->
66.
4
z 4L:L:,
4A
senxpre legato
1-------.r.
i n \, L:r^:i:L LZi
2! 2o , n
1722
a-;- ---'--;-;--
6|
lfloderato
67.
X
.rG->A
l-:
?t.?-\
^,**,i,
+tt
t.ct
"'xm;.#:,#
1722
r:?*X
,-ll.'
?iH:x:x'k;'
20
8.
,^, l2
,1.- Lz2
I --------'----'-'--':-----'
,r.
lz.
u-d
'-;r-
--Tg.et
Yi!'tr-'a-'
Moderato
!^. r 2L3
t\:
.,\-t ,- -z
4
) ^c: ,.---.
1722
t4
L/-
.)
a-::
2l
4
a-a
r--1_3
l
t:. .:
Aq
L-i
Moderato
t
-2
:lo
2-?
nl
,12-o
r-----)
70.
z
2.2?
'31;
------l-'1,iL,i
4Lz.t,t.
1722
n--------------,
k: iLf t,*11
))
71.
nI:
---------------r
z 4-r^
lL
l:91
li*ri
{r
L +2
72.
t"g
4L-
, .T#
D
, ,!
r \rts
L^LL N
tT r
1722
23
73.
a_,-----.=l.
4__-*
ffi
8--'------'-'--':'--'----
1722
z---;a;-3
r^
O lr
a-:
24
Scherzando
42!
^a
8'--"--------'riLi&a r -r1l
e
71.
'Ltl!,rL,t
8,-t-'-. --;---;------l
,,
-t- ! ^ a rl
!121
,+y
lL
| 4l r 2l
75.
I
2 4.+y,+yr*tr*y
,,
L!!ry'
1722
24
i'A,*'^,
.).
lYnn
1,-4 ,+y
2lr
t*y*
l*&-*"
^ zt*.+y*y
4
t
4*v.
t&*
25
+
4no
**an
C^l$,L:"i* 3JX
.-+
_^.?"..L4.&
21
t)
1r.
4y.rl +y,+y
*v*v*v ^1',
.|ry,+y Ary.+y
. t .r
Lanta0rle_i
+a
ft
Lr'2
,-
)L
2)
1a-..-.
76.
on4
o t4*
n o:3
^^,-r<
D'L-
l*{
fi;
1* t'd
J ?\;
1;-'o
sempre intinuendo
1722
t--
sl
,.
a,
78.
l':I.r r
?t^
;o3
Q l1
' t l
r-
8_--_-----------=
D
1722
{,
27
79.
ili:l
Oo
74 tr.3llo;t
*;Hl'ittffi;t
i:
,tZ1
1722
n oLLt
t + t lt
etc.
8-*---'-:-'Q---.--r
f ;;].-l
: itl L[r',l
I ----------'--'------r
+\23
4
a
t4
+ \2t
14 2B
t -lL;
h l,Z\2
28
nd
80.
r' 2
sempre legato
"4
nr2l
o ']^
tiii;;;. ;,- ;
zt!l
:'; i
t 2-tE
',.+
,-
;i r:
tLlto-
D
g--t----------
TaLzst ?tL
[-i
afaa
W;YirH,-o-z'1ki
-g
{Er?L
,-L
-,2 r
-
-6 L'<dj*
8----'----*------------;-'---i---------;---;-------*-
3 6,Ei 'Fa:lr*if*.81.
1722
29
.aR-;-lr^.
tqa.v-ffi
:>. ,r^2
L-$
T>
Gt';;ry
L- o
>t
Pi mosso
!,2
'-i 22
r R------l-:"..
-22 - l-2 e
,
2-o
itz
30
42
4..
1722
z1
&,*
2 4
R--------2
27
4r
t
r
.7 22
?-l
72 !
a--l * ,
42
4rl
85.
r,z-41
1722
t?
*:
)J
at z9#
2,'l
;:r--r-i;-----
-i
i--
R------------------4 "
41,
8 o {r :
3#<
42L4r'
-!
tjl4
,,
L4 2 I
42L
42
t tLi
"
.-7
22
'a:,*-'t oJ--^
J+
+!?+ )
g.
,-#l
,^
r,4
i,:LLi nilz:zi i
4l
f-q-r
s LC
f-------:---r
-.4
nr,2i2'z t4L\iL^
, il
i\,I*LL e?iiij-iiLt,,
^+-LLi
nor#
:=----------l
'
23t ,
l3'r
.r1, z ,'
, 8----------'
,2L\ii
:z^
o
, LtL
2zE
u?LL
'zii#i
3,, n ,
iL?;'?z-;:----l
li?';i-;
za^2
Q,L"o,;!l# \i*':i;;i
hq;':tir,
A
1722
z!
n--------------------r
i zLLLL z ilt
t>
,4
ziliivl:2,_ti
LbL5*,
L2o,
o\3
28
o?L2
^ LLLL
o tL"Z
'-- 22
3i3-;r'\-'iLi*
4o
4 t--a
L*21
n4
/,ton't /Ven
In editing this volurne, several indications in addition to the regularly accepted
syrnbols were used. In order to help the student, a short explanation follows:
OVERLAPPING BRACKETS.
|
To avoid unnecessary srhifting this technique has been used as explained in the following examples:
t- t.tIffi
l42l
D
rfi-l
,-T--ry
A
EXAMpLE I. While playing the C with the first finger, lift the second and third fingers sufficiently to allow the fourth finger
to be placed in position to play the Cfi. Retain pressure on the first finger while placing the fourth finger on the string, so that
the weight of both fingers is felt on the string simultaneously. When full weight has been placed on the fourth finger, and the
note is now being bowed, secure that finger by pressing it firmly on the string, while extending the other fingers and thumb into
the lower neighboring position. In playing rapidly, the fingers and thumb may extend themselves to the lower position, at tJre
as
in Fxample I.
Ascending.
)-iL
l-7f-1
"
, 4,
'+..'
,*.rrr=F==
-L
Fvl]ZjjjjjjE,
t
Ex. IV
4124
DA
I. While playing the C with the fourth finger, lift the second and third fingers sufficiently to allow the first finger
to be placed in position to play the B, Retain pressure on the fourth finger while placing the first on the string, so that the
weight of both is felt simultaneously on the string. When full pressure has been placed on the first finger, raise the fourth, and
while bowing the B, extend the second, fourth and thum into their place in the upper neighboring position.
EXAMPLE II. The Franke method. (Four finger system.)
EXAMPLE III, Place first finger on D string, using same technique as in Fxample I.
EXAMPLE IV. Place first finger on the A string, using same technique as in Fxample i.
EXAMPLE
DOTTED BRACKET.
f - -
- - -l
The thumb remains in place, whiie the hand moves into upper and lower neighboring positions.
n I
The four finger system in which the four fingers are used before shifting.
4t
rf ; f
*-*-#l**#
t2 2 |
2l
Keep pressure constant on the fourth finger, while bringing the third finger over to play the C.
ieft elbow slightly, the hand is so pitched tat the third finger is opposite the fourth.
The same technique is used with the alternate fingering.
By raising the
EXTENSION.
The extension of the fourth or first finger without shifting.
COMBINATION OF TECHNIQUES.
The combination of anv of the above techniques,
FRED ZIMMERMANN