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 % 55
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SYSTEMATIC
SCALE STUDIES
FOR THE VIOLIN

EMIL KRoss
_Op. 18

Newly revised edition

Bos'ron,
A MAssAcnUsrn-a
THE BOSTON MUSIC COMPrANY
New York : G. Schirmer, Inc.
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PREFACE
The first demand made on the violinist, that of true and pure.

is
intonation. This quality may be acquired in the safest and quickest way
by careful scale-studies. Upon examining the various tone successions,
of which music consists, will be found that two elements are predomin
it
ating, viz: the scale and the broken chord. All other combinations may
be considered as suspensions or appoggiaturas. The scale and broken
chord form the framework for all melodies or passage-work; they are the
basis of the whole violin music.
[he
present work contains scale-studies, devised and ordered in

a
systematic and thorough manner, ofi'ering all the major scales as well as
all melodic and harmonic-minor scales, in one, two, three and four octaves,
with manifold ways of fingering, changes of position, variations of rhythm
and time, tone-shadings and contrasts, bowing, etc. similar plan has

A
been followed in the presentation of broken triads, seventh chords and
diminished seventh chords. These important problems can be much
more easily solved, the difficulties more readily mastered, with the aid of
work such as this, planned and carried out in truly systematic manner.
a
a

It will suffice
to help the student in the acquisition of an adequate technique
and minute knowledge of his instrument.
is,

How vital factor the study of scales can best be realized by con
a

sidering that even the most accomplished violin virtuoso does not let
day pass without this practice. May every student follow this worthy a

example!
Emu. Kaoss

N. B. I. The daily practice should begin with slow scale within such
a

octave-compass as has already been mastered.

z. The tone-contrasts and tone-shadings, employed for slow scales
in the first position, should also be used in other positions.
It advisable to practice descending slow scales with a slow
is
3.

shake on each note, in order to obtain greater force of finger-attack.

It paramount to begin early with the memorizing of scales
is

4.
and their various fingerings.
s. 11. Co. 5301
 Systematic Scale-Studies

Edited by Hugo Ries EMIL KROSS, Op. is

Slow Scales in Major and Minor

To retain the fingers on the strings (as indicated ry figures and lines) is an excellent way of ortaining,r a quiet
and sure position of the hand; it will re found helpfutmoreover, in acquiring true intonation and surety in gauging
the distancenf intervals.

D -minor (Melodic)

B.M.Co. 680-7 Copyright, 1917, by,The Boston Music Co. Printed in U. S. A.

 D- minor (Harmonic)

G-minor (Harmonic)

0- minor (Melodic)

O-minor (Harmonic)

B.M. C0. 5307

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 E-fInt-minor (H armonic)

G-sharp- minor (Melodic)

B.M.Co.5307
 B-minor (Melodic)

B-minor (Harmonic)

E-minor (Melodic)

The following is a form of the Minor Scale which is found in works of Johann Sebastian Bach. It is character
ized ry the Minor Third, While all other intervals, in ascending aswell as descending, relongto the Major Scale.

B.M.Co. 5307
 II
Rapid Scales, in Three four T ime, in Chromat ic Success ion

Retain the fingers on the string, as much as possible. irst,staccato,then legato.

Repeat each scale '12times G'minOr (Melodic)

G_ major

.4-flat- minor (Melodic) A-fIat-minor (Harmonic)

A-minor (Melodic)

.4-minor (Harmonic)

B.'l§l.Co.5\80'1
 0_sl1arp-minor (Harmonic)

/--'-‘__—\

- . .1 u r ._. - n
E-minor (Harmonic)

F-slzarp-minor (Melodic) F-sfiarp-minor (Harmonic)

a

Major and Minor Scales, through the Circle of Triads

First, staccato, then legato, and with various other forms of rowing.
Recat each scale 8 times

A-minor .l-minor
(Melodic) ({darmonic)

'51::25
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B m .m m /H\ a r m J C>
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T I .m m m d D 0 m ‘1m n .8. w m m B T. i i en C n0 an within One Octave

Repeat Ouch broken chord l2timcs
D m -rH m .._.. e 0v0nm
_,

2
i

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F .m r
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G-fIat-major
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D ._, m a
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12

Chromat ie Scales

Repeat each scale 8 times

B. M. 00.5307
 13

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l-"ZP'
III l-lsl-ll-ihllul

B.M.C0.5307
14 VI
Major and Minor Scales, through Two Octaves, in Chromatic Succession
The first and second fingers, on the G-string, always move up a half-tone. Retain the fingers on the strings
as much as possirle. Practice first, smccato, then legato.

0.. minor (Melodic)

A-flat -minor (Melodic ),

flat-minor (Harmonic)

B.~M. Co.5307
 l

B-minor (Harmonic)

U-Sllarp -major
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G-sharp-minor (Melodic)

0-.s'llarp-minor (Harmonic)

D-minor (Melodic)

B.M. Co.5307
16
E-flat-major

_ _ h!_a _ ___ _ -_I.-—_~‘

_ _ ‘- I‘

E-rninor (Melodic)
I" 2

F-slzarp major

B.M.Co. 5307
 17

VII
Variations of Rhythm and Bowing

All these scales, within the compass of two octaves, may re practiced with the following variations of rhythm
and time, and changes of rowing. It is left to the pupil to increase the numrer of variations of his own invention.

J I I _-----I--_
.
,-—-—'—-I\_

amass.»
18 "Ill
Scales exceeding Two Octaves
The first and second fingers, on the 6 string, always move up a half-tone. Retain the fingers on the str'ings
as much as possirle. Practice f irst,staccat0, then legato.
Repeat each scale 8 times Gdninor (Melodic)

G -minor (Harmonic)

rom the is.t to the 3r31 ,osition and back

A-flat-major A-flaf-minor (Melodic)

A-flat minor (Harmonic)

A-minor (Melodic)

minor m m m o n rC

m m m e 1m. atM ‘On-v

3 .m. , m .m a m b a .w
B-fIat-minor (Melodic)

.i

n
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rm me 12‘M. ..O t h e as. a... m n md b uk (Harmonic)

B-flat-minor

B-minor (Melodic)

B-minor (Harmonic)

s-Il-\\ ‘ -
‘In-l‘ _3

B.M.Co. 5307
 19

From the 211d to the 4th Position U-minor (Melodic)

rom the 3r31 to the 5th ,osition

U-minor (Harmonic)

m .m w M e ,a w

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D-minor (Harmonic)

rom the 4t_h to the Eh ,osition

(Melodic)
6

E-flat-minor
E-flat-ma or
j
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From the 5t)! to the 6th ,osition

E-flat-minor (Harmonic)

I _n_
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..

B.K.C0.5307
 !:=:::=::::=:E ‘
F-minor (Harmonic
F-minor (Melodic)

F-skarp-major
J--___--_

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Scales for the further Development of Changes in Pos .m n w’

R
m .w

4L

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h
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the 1s.ttto the 2".‘1 ,osition and back R4 a aa Sm h 6

.t.
rom .m m...

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rom the 2r1d to the 3r'.‘1,osition and back

B.M.Co.5307
 '__--" u ‘ --pl ’
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From the 211d to the [hill ,osition and has k

C-minor (Melodic)

d-/_-\_.
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L—-7
-
G-minor (Harmonic)

From the is} to the 4*.“ Position and back

A-minor (Melodic)

‘/ _--\‘ _
-:l-.lI__--_ -—_—-_-_ »
-I-_- ‘5 ‘
--'--
l;rI_--_‘
HUI

rom the 2 11d to the 5Q‘ ,osition and back

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B-minor (Melodic)
-_ -_-_-_

_-_-I--_-_
'7 _’-I ———-~_
\I'—'_ /4‘-"IIT
l.--|

B. M. Co.6307
 22
rom the 31d to the 6th ,osition and back

6'. minor (Melodic)

1
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0. r1rr1r0!‘ (Harmonic)

m
a3.

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3.

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4

7
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r
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04.4 _m m n .4. m m
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a

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From the 4*!‘ to the St!‘ Position and back

Dm
.M.

O
I

D-minor (Harmonic)

B.M.Co.5307
k.
From the 5th to the 6t3r ,osition and back

E-flat-rninor (Harmonic)

rom the 6th to the 7th ,osition and back

--__------___-_--.-u
’_———--—--——__~‘

F-minor (Harmonic)

_-_—__\_‘__-_-I_I

Further Variations in Rhythm

,ractice all these scales in the following ways:

B.M.Co.5307
 24
XI
mM ma w a. m m am

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.22
28
XIII
Chromat ic Scales, through Two Octaves, in Fixed Position

Practice first,staacat0, then with the three forms of rowing marked

Repeat each scale, with each fingering (over and under)

'
lsst,o sition

=
V
IIII-II-I-‘IILIJ "I I'm-__
-----_---|---I-J'4AII
,---—-—---:=__l-m
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ATV'II-I
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l-Ir-__D|
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2
.m.

4|.

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2.

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In‘ ,osition
2
one:
,
.t.

m in
.r
0
1

3r'.‘1,osition

3r1d ,osition

I-i;
_-----—J"rl
IIJ'Y "-7- Il
-—-_--u-|-.-M “I "1
I

4‘I‘,osition

4‘? ,osition

23341122 21 43
2

l
2

5!!‘ ,osition

I. X.Co.5807
 29

4t!‘ ,osition

VV
Btl‘,osltion

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5Q‘,osltion

VVVV
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2 3 34 1 1 2 2 3 2 2 l 1 4 3 3
i
6t!‘ ,osition

fitll,osition

-:
3
r1 lunar-‘I l'i' F'Il ,
__- _
i
I-‘ -u-ll-ll-l--d'l
_l-nlilllllfl'Y A ; _

12; 34112 23341122 s221i43322114ss 214"

GtP,osition

Dominant-seventh Chords, through Two Octaves

First,.stacaat0, then i'eg'ato Repeat each 8 times

4Q‘ ,osition
ékh ,osition

B.M.C0.530’7
 80
XV
D iminis hed Seventh Chords, through Two Octaves

First,staccat0, then legato.

Repeat each 8 times

B. M. Co. 5307