DOUNIS VIOLIN PEDAGOGICS

The
Absolute Independence
of the Fingers
1
IN VIOLIN PLA YING ON
A SCIENTIFIC BASIS
(IN TWO BOOKS)

BY
¡;
§§i
D. C. DOUNIS
Op. 15
i Copyri&bt MCMXXIV in U.~A. by THE STRAD

1
Copyri&bt for all CollDtrica

FIRST BOOK .. . . .. THE ABSOLUTE INDEPENDENCE OF THREE FINGERS

SECOND BooK . . . THE ABSOLUTE INDEPENDENCE OF FOUR FIN<,ERS
===

1
THE STRAD EDITION
2 DUNCAN TERRACE, LONDON, N.1

Made aod Prio led fo Great Bri taín

1
 FOREWORD.
The ability to move freely a finger or a group of fingers according to
the impulses of the will power, and without any sympathetic movement of
the other fingers, is ELEMENTARY INDEPENDENCE.

ABSOLUTE INDEPENDENCE is the ability to move two or three

fingers or groups of fingers, but in a FUNDAMENTALLY DIFFEKENT WAY.

As I have, already, said in my method •"The Artist's Technique of

Violin Playing," there are four movements of the fingers:

I THE VERTICAL 0R FALLING movement (trill).

11. THE HORIZONTAL OR SIDE movement (stretch, chromatic passages).
111. Toe movement from LEFT to RIGHT (left-hand pizzicato).
IV. The movement from RIGHT to LEFT and vice-versa (Chord-
playing).

To acquire absolute independence of the fingers, not only each one

of the above four movements must be thoroughly mastered, but one should
be able to execute AT THE SAME TIME two, three or all four movements.
This is obtained through a mental process only. Toe active co-operation of
the brain in such exercises is imperative. Any so-called finger exercise for
obtaining independence, which does not require mental co-operation, is worth-
less and it is absolutely impossible to produce lasting results.

The object of the following Exercises is the absolute independence

of the fingers by combining all four movements. They are of such a nature
as to demand constant mental activity and the utmost concentration of the
brain. I t is impossible to execute any one of them while thinking of something
else. I could define the independence of the fingers as MENTAL DISCIPLINE
over the fingers. Toe results obtained through the practi~ of these exercises
are striking. Toe most unimaginable finger combinations become but child's
play to every one who has practised them carefully according to the directions,
and they will open new fields for dazzling technical feats.

THE AUTHOR.

• 12/6 net. The Strad Office, 2 Duncan Terrace, London, N. 1.

8 j.H.L. H1
 DIRECTIONS FOR PRACTISING
First of all avoid any stiffness in any part or joint of the arm, hand or fing~rs .
Vibrate as freely and as often as possible; a free vibrato being the only real t~t of hol~ng
and using the left arm, hand and fingers in a correct way. As soon as a tired sepsahon
or a slight pain is felt in the hand or fingers, the playing must be stopped at once and
resumed only after a few minutes, usually two or three, during which the arm should r~t
in a state of complete relaxation, so as to help restore the circulation of the blood to 1ts
normal condition.

_The following Exercises should be practised daily from fifteen to twenty minutes.
To o~~am .the best results in the shortest possible space of time, the following met~od of
prachsmg 1s recommended : each Exercise should be, at first, analyzed and the different
movements practised separately. Afterwards the movements should be gradually combined
and practised simultaneously.

EXPLANATION OF THE DIFFERENT SIGNS.

Toe notes written thus should be stopped and held down firmly with the
fingers, without being sounded with the bow. 3
0

Toe fingers stopping the round white notes ( ~ ) should execute the movement
MUTELY, in the same way as if the notes were sounded with the bow.

Ali ne a fter a note

(
J! J=4J )
means t h at the finger stopping that note should slide
to the next one, without bemg lifted from the string.

This sign ©
indicates the left hand pizzicato, and the number below that sign
shows .the finger which should pluck the string.
Ex. Modifi.cation © of the fi.rst fundamental Exercise: •
• For convenience of reading all Exercises included
in this Book are written on two staves.

+
1

Before attempting to practise the above Exercise as it is written, the Player should
proceed to practice it in six different ways {a to f), as exemplified l>elow. This is to enable
the player to test and control each movement separately and to combine them gradually
until all four movements are performed simultaneously.
a)
<I) O 8 O 3

4fjP@1

1
+ +
J.H.L.tU ' 1
 rt e t

All Exercises contained m this Book should be analyzed and practised in th e sam c
way as directed above.
There are only íour FUNDAMENTAL EXERCISES contained in the present Book.

1st, 2nd and 3rd fingers : ACTIVE. 4th finger : PASSIVE.

FIRST EXERCISE
SECOND EXERCISE . 1st, 2nd and 4th fingers: ACTIVE. 3rd finger : PASSIVE.
THIRD EXERCISE 1st, 3rd and 4th fingers : ACTIVE. 2nd finger : p ASSIVE.
FOURTH EXERCISE . 2nd, 3rd and 4th fingers : ACTIVE. 1st finger : p ASSIVE.

To understand clearly the plan of this work, and in order to help_ select the ~xercises
for the daily practice, so that all fingers may derive benefit, the followmg explanations are
necessary.
Each FUNDAMENTAL EXERCISE permits 19 MODIFICATIONS which are written in progressive
arder and numbered 1 to 19. Each pne of these MODIFICATIONS, which, by the _way, forros
an independent exereise by itself, should be analyzed and practised as exemphfied above
for MODIFICATION (1) of the FIRST FUNDAMENTAL EXERCISE. Futhennore, there are added
II SIMPLE VARIANTS to each fundamental exercise, which in turn should be considered as
FUNDAMENTAL EXERCISES and be subjected, every one of them, to all 19 MODIFICATIONS in the
same way as the FUNDAMENTAL EXERCISE.
To promote and develop the fourth movernent, from RIGHT to LEFT and vice-
versa (chord-playing), 23 BASIC VARIANTS are appended to every fundamental exercise ;
their object being to vary the setting of the fingers on the strings. Each one of these
BASIC VARIANTS should serve as a substitute to the fundamental exercise and be practised
accordingly. To explain better :-

After thoroughly practising the FIRST FUNDAMENTAL EXERCISE with all its 19
MODIFICATIONS and all SIMPLE VARIANTS, every one, too, with 19 MODIFICATIONS then the FIRST
FUt:iDAME!'lTAL EX!i:_RCISE, having been exha~sted, should be substituted by the BA~IC VAHIANT ( I),
which will take 1ts place and be prachsed as the FIRST FUNDAMENTAL EXERCISE with 19
MODIFICATIONS and II SIMPLE VARIANTS. The above should be applied to all FUNDAMENTAL
EXERCISES.

These Exercises are intended as a lifetlme study-companion to every violinist.

They are _to be practis_ed patiently, ar:id without any haste to ~nish the Book, fo'r they are
not the kmd of Exerc1ses to be stud1ed ~mee and. then put as1de. Any violinist, from the
most humble orchestra player to the fimshed arbst and all pupils, except beginners will
derive ~x~r~ordinary benefit from. t~e s~udy of these ~xercises. And, let it be said,' that
those v1olm1sts, even the most d1stmgmshed, who cons1der themselves to be so musical
that their extreme musical sensibility <loes not permit them to practise technical exercises'.
are, in reality, the ones who practise them most, without acknowledging it for obvious reasons,

A careful and daily practice of the following exercises will de"'.el<;>p the strongth,
eolldlty, euroty, pllablllty and INDIVIDUALITY of the fingers of the v1olm player in such
a phenomenal degree of perfection, that all difficulties inherent to the left hand technique
will automatically cease to exist-with the only exception of shifting which is treated in
separate work.

6 j.H.L. 1u
 This Book- the first-treats of the absolute independence of thr~e fingers. As we
have only four different groups of fingers- hence four fundamental ~xercises- th~ best and
most advantageous way of studying the exercises is to practise four different exercises a day,
each one from a different group of fmgers. Ex.
FIRST FUNDAMENTAL EXERCISE: MODIFICATION (1) . '}
SECOND FUNDAMENTAL EXERCISE: MODIFICATION (1) .. To be practised together the
THIRD FUNDAMENTAL EXERCISE: MoDIFICATION (1) .. same day.
FOURTH FUNDAMENTAL EXERCISE: MODIFICATION (1) ..
. ~he ExercisPs thus selected should be practised for so many days until perfect
co-ordinahon of . movement and a fluent and easy execution are assured. Then, and only
then, new e~erc1ses can be taken up and practised in absolutely the same way. Th~ usual
re~ornme!ldabons to repeat each exercise many times-no definite number should b<: given as
this vanes acc?rding to individual requirements-and to altemate slow with rap1d tempo,
should be apphed here as well. Wherever possible legato bowing should be used.
 7
The Absolute lndependence of the Fingers
IN VIOLIN PLA YING
ON SCI E NTIFIC BASIS

BOOK I.
THE ABSOLUTE INDEPENDENCE OF THREE FINGERS.

FIRST FUNDAMENTAL EXERCISE

1st, 2nd and 3rd fingers: ACTIVE. 4th finger: PASSIVE.

(Í)\NINETEEN MODIFICATIONS. ('ij'\

o a o
ª'61({'\ 3 'ª-1í!'\ 3

.. ..
®º ® º

----2

+ +1 +
®a>~ a o a o a o a o a o a
1
o

+1 + + + +t
t t t

J.H.L .&C o. 141

8

3 O 3 o 3 o 3 o 8

+1 +1 + +1
1

3 o

2--2--2--2--2--2--2--2

+1 +1 +1 +1 +1 +1 +1 +1 +1 +1

..
+1 +1 +1 +1

3 o 3 o 3 o 3
®® o 8 o 8 o 3 o 3

2---2---2---2

+1 +1 +1 +1 +1 + +1 +1 +1
t

a o a
®[ ) o 3 o 3 o 3 o 3

. ..
 9

ELEVEN SIMPLE VARIANTS.

To be praoti scd, each one, like the NINETEEN MODIFJCATIONS of the FIRST FUNDAMENTAL EximcrsE.

CD 4 0:lOR 0909 ® 4 9 - 9 - 3 -9 - 8 - 3 - 3 - 8
® 4 3-3--3-3-3-3--3-3

. .
+t +t +1 +1 +1 +1

303 03030303030 0303030303030303

ti'

- - - -- -- -- - -- - - -- - -- -- .. .. - - ~- -.... ..
1 1
_, _. 1
- ,. ,, rJ ,~
- - - -
- - - ,. ,~ ,~ -
-
r1 - -
t_l

.
ri
~ft rt r .. ..
( (
..
.
\. T
O•
+
u-
+
u•
+
2
o•
+
2
u•
+
o ..
+
u•
+
u-
+
2 2 2 2 2 2

3-3-3-3-3-3-3-3-3-3-3-3-8-3-3-3
(j)(1) 3-3-3-3-8-3-3-8-3-3-3-3-3-3-8-3

+
2
+
2
+ +
2 2

® ® @) ®
@ º 2020202 @º 2 O 2 O 20 2 (I) 2-2-2-2-2- 2-2-2 @ 2-2-2-2-2 - 2-2-2

J.H.L .4Co.1U
10

SECOND FUNDAMENTAL EXERCISE

1st , 2nd and 4 th fi nger s: ACTIVE . 3rd f inger : PAS S IVE.

NINETEEN MODIFICATIONS.

CD f¡(a\ 2 - - 2 2 - 2 - 2 - 2- 2 - 2- 2 - 2-- 2
.--
Í3\ 2 2
,,,. ,
. .. ... . .. 'ía'\
. .. .
"'--'
' .... ..,
- ·--
'

-
J

' , _ ,." " I L.

,

rrrrrrrr
---..l.'- - - - -
t)
- .• l - 1L
1 1 l'
- - - .....l'- - - -
t r
1

-
t- f ~iW
oFt
-
0101 01 01

------- .. .. -
f¡
.-
,_
.. .. .. ..
O 1 O 1
-- .
'
tJ +4 + + + +4 ++++++ +
4 4 4 4 4 4 4 4 4 4
+4 +4 +4 +
4

® 2-2-2-2-2 - 2 - 2-2
0) 2-2-2- 2 ®
. .. 3

1 1
.. ..
+ +4 + +4 + + ++++++++ +4 +4
4 4 4 4 444444. 44

2-2-2- 2-2-2-2-2
@

+ +4 + +4 +4 + + +4 ++ ++ +++ +
+++ + ++ ++ 4 4 4 4 44444444
4444 44 44
 11

@ 2- 2 - 2- 2- 2 - 2- 2- 2 @ 2- 2- 2- 2 - 2 - 2- 2- 2

- - - - - --
o 1
mr:mr
0101 0101
r1

+
4 4 ++ ++ +4 +4 +4
4 4 4 4

2-2- 2-2-2-2-2-2 2-2-2-2-2-2-2-2

a

1= o
t::::l:1==0= 1-J:0== ;:=1· r
+ + + + ++ + +
44444444
+ + + + + + + + + + ++ + +
4444444 44444444

ELEVEN SIMPLE VARIANTS.

To be practised,each one,Jike the NINETEEN MODIFIC.ATIONS of the SECOND FUNDAMENTAL EXERCISE .

CD o o

..r - . -
02020202® O 2 O 2
2 2
.. . /1f'. 2 2
.- ____ - /3\

- .. ... - • - . . - . - ..
' ' ' ~,

crcr rrrr
,,.,_
" w

----
#f
f

o 1 o 1 o 1 o 1 1
r t 1

- -
1

-
1

.. .. - .. .. - ..
.
r -

-
+
4
+ + + -~
+4
4 4 4 4

- -
® -J 4---4---4---4

J .l- 1
.
' ~/;!'\

... -
-. ,
. '~
..
@

rrrrrrrrrrrrrrrr
o o o rrrrrrrrrrrrrrrr
.. o 1 o
1 1 1 O 1 1 O 1 O 1
.. .
01010101 0 101 0 101
-
..
-¡ o• o• ()• u• o• u• o•
+ + + + + + +
u•
2 .2 2 2 2 2 +
2 2

J.H.L .• Co. 141

12
O4 O4 4

~i. r r r
t - - t - -1--t
r ~r r r
t - - 1- -1--1

+ +
2 2

® 4-4-4-4

:¡ J J .l _J_

0202020202020202

+1 +1

THIRD FUNDAMENTAL EXERCISE

1st, 3rd and 4th fingers: ACTIVE. 2nd finger: PASSIVE.
4-4-4-4

J J .J. J
Cdu;~J~..., B errio l'
3
, . Pr10FESSOR
o o

+t

NINETEEN MODIFICATIONS.
®
1JJJ1JJj
4-4-4-4-4-4-4 - 4 4----4
3
J J
3 o a
ºªºªºªºª

+1 + + + + + +
+1 +t +t 1 t t 1 1 t

1.H.L.&Co.1.U
 13
'1- 4 - 4 - 4 - 4 - 4 - 4 - 4

JJJJ]JJJ
3
0303030 3 o

+1 +1 +1 +1 +1 +1 +t +1 +t

(j)
l J 1 1 .®
4 - - 4 - - 4 - -4

jjJJJJJ1 ® 4

1
4

J
. ..
3

++++++++
11111111 ++++++++
11111111

+1 +1 +1 +1 +1 +1 +1 ++++++++ +t +t
11111111

@) @
jJJJ1JJJ
4-4-4--4--4--4--4-4

JJJJJJJJ
4-4-4-4-4-4---4-4

..
3 o o
3 3 o 3 o 3

..
+1 +1 +t +t
®
J- @)
4 - - 4 - - 4 -- 4 4-4-4-4-4-4-4--4 4-4-4-4-4-4-4--4
® 1 1- 1 l J1J1JJ1 . 19
jJjJJJJJ
.
8 o 3 o 3 o 3 o a

+1 +1 +1 +t + + + +
1 1 1 1 +t + + +t
1 1

J H.L.&Co.141
14
ELEVEN SIMPLE VARIANTS.
To be practised, cach onc, like thc NINETEEN M0DIF ICATIONS of the THIRD FUNDAMENTAL EXfRi15 1·
CD j _j ® 04 0 4 040 4 ® 0404 O

a 3

+ +1 +
1
1
+ +1 +1
t
040 4 04 0 4 0 404 O 4 O 4 O 4 O 4 O 4

__f _ _ r__f ( __
+ +
8
3

4 - - - 4 - -- 4- - - 4

l (j) -J
4 -- - 4 - - - 4 .- - -

(l J J
- -J 1 -J j
.- ~-'
.. .. :!
..
re :g; t bL b6r
' " ,

rtttr
u
~ ) -

n
(~bb6Lb
o o o
bt(
o
6l6
o1o o o 1 1 1 1 1 1 1
6r '( tr o
O 1 o o
O 1 O 1 t o o
.. ..
t t t t

" /
.,,_
+a
-
+
-
+
-
+
-+ -+ - .. _ ..
a a a 3 3
+ +8
3

® ºªºªºªºªºªº ª ºªºª ® º ªºªºª ºªº1 ª º ª ºªºª

- - - - - - - -- -- - -- .. .. " , - - - -- - - - - -- -- ,_ - -- .
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 l J 1 1 1 1 1
•,-
l 1 1 1
-
- ~ '
L '
r.J e¿ rJ rJ ·e
,. , rJ
rJ

~f- f
-
'1
-
r; r- ttr. f
- -
1
,
1
(l
-'! ,. , .. .. - .- ..
tJ + + + +4 + +4 + +
4 4 4 4 4 4

a---a--- a---a @ a - - - a - - - a- -- a
--
-- -- .. -- .- --
1
,
1~ 1 1 1
--
- -
1
..
,._1 -_.1
--
1
..
(~,rrr r rr rrr- rr rr rr . . rrrrrrrrrtrrerrr
,.,. -=
,. ., ..,. ,
, º --'
"

0101 0 10101010101

1
-
o 1 O 1
-
O
- - -
1
.
O ,1 O t O 1
u-
U t O t

.. .
'
+4 +4 +4 +4 + +4 +
f.i +4 4 4

J.H.L.&Co.14.1
 i6

FOURTH FUNDAMENTAL EXERCISE

:;:nd, Srd and 4th fingers : ACTIVE. 1st finger:PASSIVE.

NINETEEN MODIFICATIONS.

ºªºªºªºª® o ºªºªºªºª

+4 ++++++++ +4 +
4
+4 +4
4 4 44444444

o
-----~
3 O 8

+ + + + + ++++++++ + +4
4 4 4 4 4 44444444 4

o
------
8 o 3 O 3 O 8

+ +4 + +4 + +4 +4 + +++++ + ++
4 4 4 4 44444444

J.Hl,. clCo.1U
16

+ + + + ++ ++++ + + +
4 4 ++++++ +
4 44 44444 4 4444 4 4 4 4 4

º ª º ª º ª ºª@ o 8 o
19 ºª º ª º ª º ª
- -- - - "' - - - --=- .. ..
ri
-- ,.,.... _ .. .. - ,. -- --- - - ..
1 1

.
1

...
1 1 1 1 1

-
'l (~ I- - ·¡• - - - - _ -=
- 'I- 1-
-

• u• •
-
~ l ' I--
,
' :
'1 'I ··¡ ']
f ,

1 1
'1 1¡ l ''J '11 l 1 '11 'l 1

2-2-2-2 2-2-2-.2---2--2--2-.2 2-.2-2-2- 2 - 2 - 2 - 2

fl ___
- - .....,._ __
. .. - -- - -- .. . -
- - --- - - ..
4! ) + + ++ + + ++ + + + + + + + + + + + + + + + +
44444444 44444444 44444444

ELEVEN SIMPLE VARIANTS.

To be practised, each one, like the NINETE.EN MODIFICATIONS of the FOURTH FUNDAMENTAL EXERCISE.

o a o o
3 8 O 3
®
.
3 8 3----3

..
O 2 O 2 O 2 o 2 02020202

..
+ + +
4 4
4

© j-1-1-1 ® J
4---4 -

J
- - 4 -- - 4

J l

0 20 2 0 .20 2 0 20 2 02 0 2

+
3

J.H.L. .t Co. 1U
 17
040404 0 404 0 4 0404 ®

..
+8 +3 +
a 3 +2 +
2

@)
O 4 O 4 O 4 o 4
O 4 O 4 O 4 O 4
@
..
3 3 8 3

º+
2

APPENDIX TO THE FOUR FUNDAMENTAL EXERCISES

T'WENTY-THREE BASIC VARIANTS.
To be practised, each one, in the same way as the FIRST FUNDAMENTAL EXERCISE with NINET.EEN
MODIFICATIONS and ELEVEN SIMPLE VARIANTS.

Q) 0 4 0 4 0 4 0 4 ® ®,
i !) - - - - . . ®
0202 0202

. . m O 4 O 4 O

- - - ..
4 O 4

--
1 1 1 1 1 1 1 1 1 1 1 1 1 T f l

--- - - - . .
1 1

- - - ,.. .. - - --
u- -
t T 1
1
2 2 3 3 3 3

: .. .. .. ..
t
J +
o(q)!+ J+ oUW
q+
+ +t t t t t
t

®a:i O 3 O 3 O , O 3

+t + +t + +
t 2 2
J.H.L .&Co. 141
18

(j) 04040404® o
0 404 O 404
(f) G) o o t t o t t
m - - - ..
..... - - - - -- - • - .. .. . - - - . - - - --
f¡ 1 1 1
1
..
1 1 1 1 l

---..
' ,
_, _,
... -
----::, J
-

·'
~r.
,:¡-

3 3
1 3 3

-
,,
f¡
.. . .. . ..
t. l
o \~ o
+2 +2 + +
2
2

O 1 O 1

+2 +2 +3 +3 + + +3
3 3

O 4 O 4 O 4 O 4
o 1 O t
1 O 1 O t O 1

+a + +a +3
8

O 2 O 2

+a +3 +4 +4 + +4
4

J.H.L.&Co.1U
 19

TWENTY-THREE BASIC VARIANTS .

To be practised, each onc, in the samc way as the SECOND FUNDAMENTAL EXERCJSE with NINETEEN
MOUIFICATIONS and ELEVEN SIMPLE VARIANTS.

CD -~ a
® -íT\ a 3
.. . ..
3

--
f\ (4\ 2
u
2
.
, ____ • --,._
u

-
-
• '\ 111., '

e t rr
I u

- -
' J J

t t t ( (q)t t t r
J
u-
u•
----
'
t)

ttt( tttr
o o t o t t o t
to t t 1 o 1
(q)
o t o 1 0101 01'l t
f¡
- - - .. .. - - - .. . - - .
' , +2
t) +a +ll + +4 +2
4

, ..
/4\
..
1
.. ..
1
f¡ ,....,. , 4 - 4, 41

.. .. -
-l'!'f',. 4, "/1¡\ t t

.. .. , ~ -
u

mr ~rrrl mr ~frrr~b6r
n

- =-
L
V- '
---
J
J

ttrc ~tfr
t)

02020202
o o O I O l O 2 O 2 O 2 O 2
.
O 1 O 1 t O 1 O 1 t

.--,,
I\
r - - .. . - A - =- -. .. - .. .. - V
.
t) + +3 + +2 +4 +
4
t,1 +3
2

® a a -(4'\ :i 3
-
4 - 4·1
.. - - /;!'.
4-4
..
.. .. . . .,,..
1

.. ..
mrr~trr
- -:
..,.,,
f¡
-~
n

-= - ,__, o '- V L

-
mreqrrr
J V -
u-
t)
~(qtr.rr
-..-
mr(q)=cw O 2 O 2 O 2O 2 O 2 O 2 O 2 O 2

-
0202 020 2 O 2 O2 O2 O2
n
- - .. .. A-
- .. .. - = . .. A-
- ..
.'-
V

.
V

+4 + + + +3 +1 +1
+ a
4

t t
®-
.. ..
-(Í¡ .\ 2 2
I\ .r,,. -, 1 t
. ..
-
-,
,,
- -
et r
.
-
u

tr irrrfrrr r(r[,rrrr
1--l-.c ,
tJ
iEo a r o :i o a o a o :¡ o :1 o a o a o 8 o 8
~
o a o a
f¡ ,. _ A- . -
.. :__ - .. . - -- ..
-.,,.
T- :r --
-l
t) +
4
+
-
2 2 t +
4

J.H .1. .&Co.1"1

2-0
Cdua,Jº g
P ROFES~
'
.. .. -
4
ri /'4'\ 2 4 4, 4,
2
.. ..
1

-., n

.. -
-
L
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TWENTY-THREE BASIC VARIANTS.

To be practised, each one, in the same way as the THIRD FUNDAMENTAL EXERCISE with NINETEEN
MODIFICATIONS and ELEVEN SIMPLE VARIANTS.

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1 1 1
1 1 1
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o 4 4

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+ t 1
1 1 t

2---2

J.H.L.&Co.tU
 02020202

+4 + +4
4

TWENTY-THREE BASIC VARIANTS.

To be practised, each one,in the sarnc way as the FOURTH FUNDA.MENTAL EX.ERCISE with NINKTKEN
llOl>lFICATIOXS and El.EVEN SIMPLE VARIANTS.
1 4 o 4

.. .
+ + +
3 4 4
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+ +
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O 1 O t

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2 2 2 2

oª º ªºªºª O 1 O 1

.. . .. .
+ +1 +
t 3

.
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1
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J.H .L.& Co.1U Lowe and Drydone (Prinlers) Limited, Lonrlon