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Digitized by the Internet Archive


in

2011 with funding from

Boston Public Library

http://www.archive.org/details/schoolofintonati3711sevc

On an Harmonic
Por

Basis

^r
l!

Violin
in

SV PARTS
by

Contents of

INTERMEDIATE STUDIES
FROM THE 2nd TO THE
7th

Book

III*

POSITION
X:

Price Each Part $1.75

PART

VII:

CHROMATIC SHIFTING

on

PART

one and on two Strings, with Controlling Open String. The Augmented Second. Harmonic Minor Scales, with Bowing-Exercises for Detache,Legato, Staccato and Spiccato.

PART

VIII: CHORDS: Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for Bowing. Preparation of the Double-Stop of the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The Brolien Triad in various Keys, with Changes of Bowing. DISSONANT CHORDS: The Diminished Triad, with Enharmonic Changes, in Single Tones and Double-Stops.

CONSONANT

Arpeggios through the Positions, with various kinds of Bowing. The Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
all

enth in all Keys. inant Seventh in Circle of Fifths in

The Chord of the Dominant SevThe Chord of the Dom-

PART

XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Controlling

Open

String.

The same on two

Strings.

PART
ued.

The AugmentedTriad in Single Tones and Double Stops, with Exercises for Fingering and Bowing.

IX:

The

Diminished Triad contin-

Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh,the Minor Third and the Major Sixth, with a ControllExercises for Shifting ing Open String. Positions and Finger-Exercises employing different Combinations of Stops for the Chord of the Diminished Seventh. Stretch-

ing of Fingers.

'

13. /?2-2-

PART

VII.

ABTEILUNG
2.7.

VII.

PARTIE
3me _ 7me

VII.

2nd - 7th Position.


Contents.

Lage.

Position.

Inhalt.

Table des Matieres.


Glissements chromatiques sur une et sur deux cordes, avec controle d'une corde a vide, a la 2 m e -7 In.e position. . La Seconde augmentee a la 2 m.e
7 nl
e

Chromatische Riickungen auf einer und auf zwei Saiten, mit kontrolierender leerer Saite, inder 2.-7. Lage. string, in the 2 n d - 7t-h position. Die iibermiissige Sekunde in der The augmented Second in the 2& d 2.-7. Lage. 7 t-h position. Harmonische Moll-Tonleitern mit Harmonic Minor Scales with bowingexercises for Detache, Legato, Staccato Bogeniibungen fur Detache, Legato, and Spiccato in the 2 nd - Imposition. Staccato und Spiccato in der 2.-7. Lage.

Chromatic Shiftings on one and on two strings, with controlling open

position.

Gammes Mineures Harmoniques


7me position.

avec

exercices du coup d'archet pour le Detache, Legato, Staccato et Spiccato a la 2me-

++
Chromatic Shiftings on one string

-++
1.

+0+-

in the 2 nd

7th position.

Chromatische Riickungen auf'einer Saite Glissements chromatiques sur une corde jn\dqr2.-7. Lage. a la 2 1? e -71 e position.

Chromatic shifting with the 2 n_d and the 3 rd finger, keeping the l 3-* finger on the string.
2 nd Position.

Chromatische Riickung

Fingers mit Liegenlassen des 1. Fingers


des 2.
3.

und

et

Glissement chromatique du 2 nL e du 3 ? 6 doigt, pendant que le l e-r doigt reste pose sur la corde.
1

2. Lage.

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2. Chromatische Ruckung
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Chromatic shifting . of the 2 n d and 3 rd finger with controlling open string.


3 rd

Glissement chromatique

und
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3.

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mit kontroUierender leerer Suite.

Position.

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5th Position.

Chromatische Ruckungen mit kontrollierender leerer Suite.


5.

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Lage.

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6.

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exposition.

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7th Position.

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7.

Grlissements chromatiques avec controle d'une corde a vide.


7 m e Position.

Lage.

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VII

10

1.

Chromatic shiftings on two strings with controlling open string.


2nd Position.

Chromatische Riickungen auf zwei Saiten


mit kontrollierender leerer Saite.
2. Lage.

Grlissements chromatiques sur deux cordes

avec controle d'une corde a vide.


2 me Position.

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VII

auf zwei Saiten

Chromatic shiftings on two strings with controlling open string.


3 r.d

2. Ghromatische Ruckungen
mit kontrollierender leerer Saite.
3.

13

Glissements chromatiques sur deux cordes avec controle d'une corde a vide.
3me Position.

Position.

Lage.

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^
3.
15

Chromatic shiftings on two strings with, controlling open string.


4th Position.

Chromatische Riickungen auf zwei Saiten mit kontrottierender leerer Saite.


4.

Grlissements chromatiques sur deux cordes avec controle d'une corde a, vide.
4"le Position.

Lage.

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18

Chromatic shiftings on one and on two strings with controlling open string.
h 5t-

Chromatische Riickungen

Glissements chromatiques
sur une et sur deux cordes avec controle dune corde a vide.

auf einer und auf zwei Saiten


mit kontrollierender leerer Saite.
5.

Position.
IV.

Lage.

5 e Position.
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VII

2J

Chromatic shiftings on one and on two strings with controlling open string.
6th Position.

Chromatisehe Buckungen auf einer und aufzwei Saiten mit kontrollierender leerer Saite.
6.

Glissements chromatiques sur une et sur deux cordes avec eontrole d'une corde a vide.
6

Lage.

m e Position.
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Chromatische Riickungen

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sur une et sur deux cordes avec controle d'une corde a vide.
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auf einer und auf zwei Saiten


mit kontrollierender leerer Saite.
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11,

VII

26

The augmented Second


in various

minor

keys.

Die iibermdssige Sekunde in verschiedenen Moll-Tonarten.


2. Lage.

La seconde augmentee en divers tons mineurs.


2me Position.

2 n_d Position.
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11,

VII

27

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La seconde augmentee en divers tons mineurs.
3 me

The augmented Second


in various
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minor

keys.

Die iibermissige Sekunde in verschiedenen Moll-Tonarten.


3.

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Lage.

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11,

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28

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The augmented Second in various minor keys.


Position.

in verschiedenen Moll-Tonarten.
4. Lage.

La seconde augmentee en divers tons mineurs.

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29

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Sevcik Op.

VII

30

The augmented Second


in

Die Uberm'dssige Sekunde


in verschiedenen Moll - Tonarten.
5.

various minor keys.

La seconde augmentee en divers tons mineurs.


5

5^
IV.

Position.
i

Lage.

me position.

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11,

VII

31

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The augmented Second


in various
h 6*.

minor keys.

Die iibermassige Sekunde in verschiedenen Moll-Tonarten.


6.

La seconde augmentee en divers tons mineurs.


6me Position.

Position.
l

Lage.

4
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11,

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in

Die iibermassige Sekunde


in verschiedenenMoll-Tonarten.
7.

various minor keys.


7th Position.
IV.
1-

La seconde augmentee en divers tons mineurs.


7 e Position.

Lage.

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in.
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Sevcik Op.

11,

VII

33
II.
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Sevcik" Op.

11,

VII

34

Harmonic Minor Scales beginning on each step


of the scale through all key$, with bowing- exercises.
2nd Position.

Harmonische Moll - Tonleitern, ausgehend von jeder Stufe


der Tonleiter in alien Tonarten, mit Bogeniibungen.
2. Lage.

Gammes mineures harmoniques


commencant sur chaque degre de la gamme dans tous les tons, avec exercices du coup d'archet.
. 2 m e Position.

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Sevcik Op.

11,

VII

35

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VII

36

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J-JTT?^

^JJTJ

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ig

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i

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>:i
i

w Vi
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i

tr1rr, i

2.
el 1-

'Y

E-T J

"*i

f^t ^=ff
ii

l*3

^C^r P-TO
'
i

,],,,

flj

'r

g^r

ntf rff^

ff

rTf^^

Sevcik Op.

11,

VII

37

Harmonic Minor Scales


in all keys with bowing-exercises.
3 r.d

Harmonische Moll - Tonleitern in alien Tonarten mit Bogeniibungen.


3.

Gammes mineures harmoniques


dans tous les tons, avec exercices du coup d'archet.
3me Position.

Position.

Lage.

1
1

fcH
*'

ffi

^m

i
s

TOlJ

F$ nm
2_

=S

i J^cjxrr

j^fT^n Q JiTji
2.

jj

ji

uJ j i'rrrff
i

is

m^
i

ii

fi

2=

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r/1 ^
r

UXJ

U ^mm

SE i
r

ii

73 JJTJ J?

1j- JIJ

jp mJJ

Tlr

L^grfrTrcic^

Sevcik Op.

11,

VII

3.

1.

i>W

i i

f
"i

Tidi

n
r

prfipf7}-m
tf~dift fl

SP f } JTTi
[

J7%? rTf^ n

m i-tffurftfUxj f^grf zrj^j ^m ^^


i \

J J ^
1

'

Ji^

3.

te^ # ^S u r

-4

3-

i;j

jiot

m
j
1

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i

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ijjj p?
l

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j 3jj-j

-cj

te

# w>l

^
i

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s
r c

nV} m hnn
3

m^ vus
.
i

as p

a
VII

rJ'

;ca;N-L/n rrrrrrxJ

Sfff[

^^

Sevcik Op.

11,

39
1

#
i

j,

j.

#3P
n

U*

bJJTJr r>niJLJ a ix*

gS
1
"i
1

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r^ f f> r7m

jj gtfrg

ii

^rr frffrS ]!!


i

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J

^ ^8
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i I J 1

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M.

tt

IF*

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P
J

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r
-

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uJJ

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'^

iii'

i
11

a. gy ijr^{jiJj'jj-jjj^r
VII

u Trr^rr i^i

gMl

Sevcik Op.

40

Harmonic Minor Scales


in all keys

Harmonische Moll-Tonleitern in alien Tonarten


mit Bogeniibungen.
4. Lage.

Gamines mineures harmoniques dans tons les tons,


avee exercices du coup d'archet.
4 m e Position.

with bowing-exercises.
4th Position.

fc feE
J
'"

,J

H
\

J Jjti

nl^n

^
. .

^
g =e

^
i

j^aj rrc rccjjircfrxrTrtrr ^ircf^^tt

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j*

If

^s

^pr

rr^Hg

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[jrrirrn? r rjj nrftrir^ftrrrr


,

*pssi =

*fe

pg

ffirr crrrrrir r_r'rtrff ffrrl^

jj^TrlrnflUcjif fcflr

P..-.N,.-.Frrf0

*^ Three -quarters of bow length Sevcik Op.


11,

'

2>rez Viertel

Bogenldnge.
\

Trois quarts d'archet.

VII

41

-4^

2 2

[j* j

ii

^ J jjj^

^s
i

g? jg ri;

^p

jj^L^^ ^ijjir' J c;r^ r^


'

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^a
,M
j

Lr

isj

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r?

#S
j
i

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r

SB

tgr frrr

-^.
i

gin frrirr
J

ff

rfffrftrcTn

^
!-!>

2;

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c-fJ

'

vuu
ft

i>

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te

ffi

ti : r"r
tt?

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fe M35 p
"'''i

^
n

en
ii^

j w

cj

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'

!x

LtrjTlrc^i

^rrrf^f

Sevcik Op.

11,

VII

42

W^ m
i* sp *& JB

^
&
SI

^m
-o-

nn
tort* ^ iVTHi
I

u
4

o^j

tttft \fffttr}

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(Tr

it

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i

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i

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-

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far

r r

r^

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i

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up

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u.

&

m
gg
ttf^f

m^ s
j ..
'

rrn

ms
i

g r

** fe!

PS r2rTOrir

r*r?r-ifff

rrf_#

Sevcik Op.

11,

VII

43

Harmonic Minor Scales


in all keys with bowing-exercises.
5th Position.

Harmonische Moll-Tonleitern in alien Tonarten mit Bogenubungen.


5.

Gammes mineures harmoniques


dans tous les tons, avec exercices du coup d'archet.
5me Position.

Lage.

& ^
III.

BE

$$&-

is

rn

i_\ 1

& ujn

n-

nS

1
1

2.

I-

&

wt=+

osj
l

u jtti
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m
tfr

ms

m c!crrrCfci^

i ^# s

g rir.rrf/1^

p
II. 3

IV.
I

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1

CT^*

9-

114:

=Z2

2=

EEg

^ ^^

&

W-

^m

S'evcik Op.

11,

VII

y pBUl
r
III.
1

^
13

-2-

T
J I" J

1
i

I
1

Sbe
i

it

cjrxr

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r
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1

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^m

iff f ff^fr r^rtrff f ffCTcr


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1

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fete

p^f | i r]2;

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ffrrrff f fftS>
i

xt.

ji.

ffffj^rrr
11,

te as

Sevcik Op.

VII

j..

wm
# Al<

III.

^B "^ # a
i

m&
i

wz.

TO

/Irr*

^
45

jJci iffg cgr

rcir fxfrrtrf iijn

l PpU^ 'U*
tf

m^

^^

K|

fag

ii.

fcfc?

gg gp

2.

rOTJU J? ^^'OX
j
l

S=

III.

<fe=a ;

ri

; s

rT~r

_T3 r r *r P f

frr r

^
i

wt

ipg

:;pfp Ff#

tf^#

rtfTffftfff

Ute^S

Sevcik Op.

11,

VII

46

Harmonic Minor Scales


in all keys

Harmonische Moll -TonleiUm in alien Tonarten


mit Bogeniibungen.
6.

Gammes mineures harmoniques


dans tous les tons, avee exercices du coup d'archet.
6 m * Position.

with bowing-exercises.

6^
2

Position.

Lage.

III.

'pff

m mg

J?n
i

in

r
i i

gj^n

^
hi.
3
i

IJ

^cjH

#
r

2-

irrr ^m mm^m^m fTt D


T
i

jTif?T frrm r

rrtfnff ffto?
,

$*:

crCf Tf I

#!

j flfr.

S
I.

g riff ffrr^?
S
i

rTrtf^f

f f CtTq

tfrif?

Sevcik Op.

11,

VII

47
IV.

4,

^=^

^ dr;r

Lfc^i^ppg#rff-

III.
<p

_;

tt^isJJi

LTCJCCJ*

'

"r

LTE

g^=^

s
2

IS
IV.

LrCxjcj

|J

Jl

^
-

3!

j,^i

J"3

HE
2t

S^g
-

g HP

F g

^s

s^
J m g
H

"-=

F g

^s

ftt-rn

Sevcik Op.

11,

VII

II.
3,
1

jdWttrru)

amcr
3

S m^ s
frr
r

in.
1

'U

lui^vt
ricf f Tfrttr

HA i

fpf i

rfrfW FfQ^rr

ffrfn?jf r r?/rc!ffftrr^r ftftfft? f ffcf


i i

w fe3^3
IV.
o
3

=ZZ

fe^*

1W

s
jg

^^
Ute
TT

M pi*
*fe

^^
ttp

crffrrfc
f:

&a S
11,

Se

jjJS

Sevcik Op.

VII

49

Harmonic Minor Scales


in all keys with bowing-exercises. h 7 t.

Harmonische Moll - Tonleitern


in alien Tonarten mit Bogeniibungen.
7.

Grammes mineures harmoniques dans tous les tons,


avec exercices du coup d'archet.
7 m e Position. .

Position.

Lage.

griffTffrftrir r?rrfTf ffffir


t\tt
ii.

grfrf f

ff

fg ^

Ito
&

^ ^
ni.
3

g^g
e#
r
I
i

is

US
*r.rr

fe

q
:

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'Trr ftf
*.te

*f f tiir frTrtf

"!?>.

'^ninrfi
i
-s-

^#3

tr

#=jj

~um
Sevcik Op.
li,

1^

?> rff

LifLrN-lfrer-Lj

#j^

ii.

VII

50
IV.

Se
''

i i

-* J

j^

p
=

f?*P
>

r
i

r>
^

p-^
i.

k .~7

s-

^
i

^r f

rr
ete *

^
^^
i

r^^^^rj^Yir^^^'

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in.

^m

_2

z:

p
2z

s PEfrfTCJLUfi'r uueTfTrr

uj

rr rf^fffrrlfe

2.

i* ffii

P^

IV. -4

&

r
2

p
4

# T~

0-

m
III.

2_

i&

-.-i^fe

*g

fesi SP

#g
4fp|

Hii

HPi

S=F

^
Pfffr r
i

Tr f

ft
Sevcik Op.
11,

pps

S e

VII

II.
1

51

t&mtt
^i.V'

2z

^rJUT^u^cirrrj
tefc?

rarfer^ri^craf-jfffcrff

^#Pl
Si

T^

^^
in.

s^=a
r

gP
J
I

tell e^S

**

a^jttx

ig LIT"!
i

LT

^ S
'lt

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r^^rfrl^

*^ * ri^ff frf^rrTJ/cfffffteri

** es

i^ri^ctrrrUHf TO
i

il^i
##
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it

fwf f ffmi
CfLCj
'

II.
1

2.

%%#

B s

M.

^H
i

^-

^
\

Fff^
it

r
*t
Sevcik Op.
11,

fr

crrfffrj^r

Tr rrf^ r f
i

tiif rrrf
ie

&*
VII

mm

ti

m L

^^ &m
' Ll '

Abbreviations and Signs.


Designation of the Length of the

Abkiirzungen und Zeichen,


Bezeichnung der Bogenlange durch
Bruchzahlen.

Abreviations

et

Signes.

Division de l'archet au moyen de


fractions
i

Bow

by means of fractions:

Whole Bow.
Half Bow.
First Half.

Cramer Bogen.

i
i

Tout l'archet.

Halber Bogen.
Erste Hdlfte.

3
1.

Demi- archet.
Premiere moitie.
Seconde moitie.

2
2.

Second

Half.

Zweite

H'dlfte.

2
1

One Third.

I
I'

Ein Drittel

des Bogens.

Un

tiers de l'archet.

Two

Thirds.

Zwei Drittel

des Bogens.

%
3
1.

Deux

tiers de l'archet.
tiers.

Firfet Third.

Erstes Drittel.

3
2.

Premier

Second Third,
Third Third.

Zweites Drittel.
Drittes Drittel.

3
3. 3
1

Deuxieme

tiers.

i
5
3

Troisieme tiers.

One Quarter.
Three Quarters.
:

Ein

Viertel des Bogens.

4
3

Un quart
2

de l'archet.

4
1

Drei Viertel des Bogens.


-

4
1.

Trois quarts de l'archet.


j'
-

4 4 4
2. 3

? "|-

First, Second, Third, Fourth

|"

Erstes, zweites, drittes, viertes Viertel

4 4
2. 8
'

Quarter.

des Bogens.
4

Premier, deuxieme, troisieme, quatrieme quart.


et troisieme quart.

Second and Third Quarters.

=-" Zweites und

drittes Viertel.

Deuxieme

H
V

Down-bow.
Up-bow. 1 )

n
V

Hernnte?sfrich
Hinanfstrich
l
)

n
V

Tirez

Poussez. 1 )

Broad Bow.
Short, detached (staccato),

(martele)

Breit gestossen (gezogen).


Abgestossen,
staccato).

Largement.
Bref, martele (staccato)

gehdmmert

(tnartele

hammered
"
(sautille;
)

Springing, bounding,
spiccato; saltato).

"

Springe nd, geworfen


spiccato)

(sautille;

"

Sautille (spiccato).

Lift

Bow.
?)

Bogen heben.
Kunstpause (Luffpa
Erste Saite, E.
Zweite Saite, A.
Dritte Saite, D.
Vierte
Saite, G. 3 )

Levez l'archet.

Kunstpause (Luftpause)
First String, E.

use) 3)

/'

Kunstpause (Luftpause)s)
Premiere corde, Mi.

H
HI

Second String, A.

H
DJ

Deuxieme

corde, La.

Third String, D.
Fourth String,
G. 3 )

m
IV
o

Troisieme corde, Re.

IV
o

IV
o

Quatrieme corde,
Corde a vide.
le

Sol. 3 )

Open String.
E-string.

Leere Saite.

Sul E,_onthe
i

Sul E,
l

Auf der E-Saite.

Sul Mi,_ Sur


l

mi.

First Finger remains on string.

Liegenlassen des erste n Fingers.

Retenez

le
le

premier doigt sur la corde.


doigt indique par le

The

little

finger

is to

hook indicates which remain on string.


M.
Fr.

Liegenlassen des Fingers anf welchen das Hakchen zeigt. Mitte des Bogens.
M.
Fr.

Retenez
crochet.

M.
Fr.

Middle of the Bow.

Milieu de l'archet.

At the Nut.

Am
An

Frosch.
der Spitze.

Au

talon de l'archet.

Sp. At the Point.

Sp.

Sp.

la pointe de l'archet.

1)

Unless otherwise indicated, the first measure begins at the nut.


Lift

*)

Ohne JSezeiehnung
tfer-

iter

Anfangsta/ct iwitner

Siehtung begin/it aw Frosch.

*)

Faute d'indication speciale on commence


la

8
)

Bow and make

a brief rest.

*)

Bogen heben und kurze J^anse tnachen


Airf ntcht qnintenreinen Saiten soil nicht
gettbf wertfen.

3) Levez l'archet en faisant


3
)

premiere mesure au talon. un bref silence.


ne doit jouer que sur des eordes absolujusles.

No practising should be done on strings


not true in the fifths.

On

ment

CONTENTS OF SCHOOL OF INTONATION


By

OTAKAR
OPUS
II

SEVCIK

CLASSIFICATION OF THE SUBJECT-MATTER.


Part I " Ila
1

EINTEILUNG DES LEHRSTOFFES


Abteilung I
"
"

ARRANGEMENT DES
MATIKRES.
Lage.

Introduction to the

1st Position.

1st Position.]

Ha
lib 1
III

."

H5
IV

IS PoStion!
1st
*Part
Position.
J

Supplementary*

"

Einjiihrung 1. Lage. Lage. Lage.


1

in die erste

Partie I
'.'.

Introduction a
tion. Tt

la

premiere potiMatieres

1. 1.

Nebenbei

vorzunehmen*
"

\\t ~\
ttt 1
JJ,

IV

1. Lage.

Major rhythmic Scales from Parts Ila and lib. Pieces (1st position, Grade I) with piano. 2
"

VThe

"Abt. V Die rhythmisierten DurTonleitern aus Abt. Ila und Vortragsstiicke (1. Lage, lib. Stufe I) mit Klavier.'

IV

Ire
,

"J" 08 - lre P

S05 OS

'.'!

"-

'!'

0n

}
j.

Supplementaires.*

;*?

"J

Position.

"

Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin to
the 29 Duettinos

Einjiihrung
soivie

from Parts
)

I,

Ila

and
"
"

lib.

2.-7. Lage. und IV, Violinstimme zu den 29 Duettinen aus Abt. I, Ila und lib.

"

in

die

Dazu: Abt.
die

lib, ziveite

III

Partie V Les Gammes majeures rythmiques des Parties Ila et Compositions (Ire posilib. tion, Degre I) avec piano. 2 Introduction a la 2me-7me PoMatieres supplemensition, taires: Parties lib, III et IV; aussi le second violon des 29

Duettini des Parties


lib.

I,

Ila et

VIa Vlb

2d-7th 2d-7th 2d-7th

Position. Position.

Sunnlementarvt Supplementary!
in the 2d-

Via Vlb

f40 Bohemian Melodies


7th position.

2.-7. Lage. \ -2.-7. Lage. \ f40 bohmische


2.-7.

_. DaX ^

IVeisen

in

der

" "

Via -2me-7me Vlb -2me-7me


|40

Position.! Su Position.]

J^H6 !, n

Lage.

Melodies bohemiennes dans

^^

"

Vic
VII
VIII

Position.

40

Bohemian

"

Vic VII

2.-7.
sen.

"

Supplementary: Parts Via and Vlb. 2d-7th Position. Supplementary:


Melodies.

Lage.40 bohmische WeiDazu Abt. Via und Vlb.


:

"

Vic
VII
VIII

2me-7me

"I

Part XII (Introduction to Shifting). "

2.-7. Lage.D azu: Abt. XII {Einjiihrung in den Lagenviechset).

"

position. Position. 40 Melodies Matieres supple mentaires: Parties Via et Vlb. 2me-7me Position. Matieres Supple men taires: Partie XII
la

2me-7me

bohemiennes.

"
"'

IX

"

XI

2d-7th Position. 2d-7th Position. 2d-7th Position. 2d-7th Position.


Part

VIII
}

-T-1.-1.

Lage.

"
" " "

Supplementary

IX

X
XI

2d violin to the 40 Bohemian Melodies (Part Vic). W. A. Mozart, Sonatas for violin and piano. No. 4, 7, and others.

XIIThe

2.-7. Lage ge.A 2.-7. Lage. > ge. 2.-7. Lage. J ge.
%Abt.

IX

Dazu%

XI

2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. Partie XII Le second violon
} [

(Introduction au demanche).

taires.

"

XII s

2d-7th

Position. Introduction to Shifting. Supplementary: Sonatas of W. A. Mozart, Nos. 4, 7, and others. in ShiftScales in a Variety of Forms through 3 Octaves. Supplementary: Concert-studies:

XIIDie ziveite Violinstimme aus den 40 bohmischen IVeisen (Abt. Vic). W. A. Mozart, Sonaten fur Violine
u.

Klavier, Nr.

4, 7, u. a.

"

XII s

2me-7me
tion

des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc.
Position.
:

Introduc

XII'

2.-7.

Lage. Einjiihrung

Lagenivechsel.

in den Dazu: Sonaten


4, 7, u. a.

von W. A. Mozart, Nr.


XIII*

"

XIII 4

Transitional
ing

Diatonic

Tone used

Lagenverbindungston.
Form durch
:

Diatonische Tonleitern in verschiedener

"

XIII*

Rode, Concerto No. 6; Viotti, Concerto No. 23; Pieces from Grade III.
"

Dazu 3 Oktaven. Konzertstudien Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstiicke aus der 3.'
Stufe.

XIV

Intonation of Double Stops. Supplementary: Continuation of Concert-studies Grades III

XIV

Intonieren

"

XIV

der

Doppelgriffe.

and
and IV.

Pieces

from
1

Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jederdie gleichen sind, konnen die rhythmischen Vebungen au Abt. Ila und lib selbstdndig vorfiommen vuerden, ohne mit den gleichlaujenUebungen fur die linke Hand gleichen Schritt zu halten. In diesem Falle jedoch sind diese Bogeniibungen bei den folgenden Abteilungen nachzu-

Matieres supplementaires W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc. Note de transition. Gammes diatoniques en diverse s formes parcourant 3 octaves. Matieres supplementaires t u d e s de Concert: Rode, Concert No. 6; Viotti, Concert No. 23; compositions du degre III. . Intonation des doubles cordes. Matieres supplementaires: Continuation des tudes de Concert et compositions des degres III et IV.
:

au demanche.

1 Because the sense of rhythm varies in individuals, the exercises in Parts Ila and lib may

Da

mann

be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
Parts.
2

Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ila et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes.
'-

It is of great

play

frequently

importance for the beginner to with piano accompaniment.

holen.

The

difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intonation, proper crescendos and decres-

cendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompani-

ment.
2 To be studied concurrently with Parts Via, Vlb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, X and XI.

Hdufiges Spielen mit Klavier ist fur den Anjanger von grosster Wichtigkeit. Die Klangverschiedenheit zivischen Geige und Klavier, die vollen Harmonien des Stiickes, die feine Nuancierung in der begleiienden Klavier stimme leiten und drdngen den Anjanger zum reinen Intonieren, zum Anschivellen und Abschvjdchen, zum Akzentuieren der Tone. Er ivird geradezu gezivungen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb kann man schon neben Abt. IIIV entsprechend leichtere Heine Stiicke mit
2

2 Pour le commencant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intona-

Klavier vornehmen.
3

tion juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tous ces details le forcent a cultiver une belle^ sonorite Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer l'etude de pieces faciles avec piano conjointement aux exercices des Parties II-IV. 3 A Studier conjointement aux Parties Via,

Neben Abt. Via, Vlb, Vic und VII vorzuNeben Abt. VIII, IX,

nehmen,
4

und XI vorzunehmen.

Vlb, Vic, VII. *A etudier conjointement aux Parties VIII, IX, X, XI.

On an Harmonic
Por

Basis

lOIifl
in XIV PARTS

by

INTERMEDIATE STUDIES
FROM THE 2nd TO THE
PART
VII:

7th

POSITION
X:

Price Each Part $1.75


Sev-

CHROMATIC SHIFTING

on

PART

The Chord of the Dominant

one and on two Strings, with Controlling Open String. The Augmented Second. Harmonic Minor Scales, with Bowing-Exercises for Detache,Legato, Staccato and Spiccato.

The Chord of the Domenth in all Keys. inant Seventh in Arpeggios through the Circfe of Fifths in all Positions, with variThe Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
ous kinds of Bowing.

CONSONANT CHORDS:
Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for BowPreparation of the Double-Stop of ing. the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The Bro/cen Triad in various Keys, with Changes of Bowing. CHORDS: The Diminished Triad, with Enharmonic Changes, in Sinde Tones and Double-Stops.

PART

XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Controlling

Open

String.

The same on two

Strings.

DISSONANT

PART

Diminished Triad continued. The Augmented Triad in Single Tones and Double Stops, with Exercises for Fingering and Bowing.

IX:

The

Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh,the Minor Third and the Major Sixth, with a ControllExercises for Shifting ing Open String. Positions and Finger-Exercises employing different Combinations of Stops for the Chord of the Diminished Seventh. Stretch-

ing of Fingers.

Copyright Property of the Publisher

HARMS,

Incorporated

/y

y^r

PART

VIII.

ABTEILUNG
2.-2 Lage.
Inhalt.

VIII.

PARTIE

VIII.

2d-?th Position.
Contents.

2me_7me p os ition.
Table des Matierss.

Consonant and Dissonant Chords.

Konsonierende und dissonierende Akkorde.

Accords consonants
dissonants

et

CONSONANT CHORDS:

Placing the

KONSONIERENDE AKKORDE: Aufse Finger fiir den Doppelgriff der reinen Quinte, mit Bogeniibun gen in der 2.-4. Lage.- Vorbereitzen der

ACCORDS CONSONANTS: Maniere


de placer les doigts pour la double corde de la quinte juste, avec exercices du coup d'archet, a la 2"le -4ni e position.- Preparation de la double corde de la quinte juste, quand
le son inf erieur ou superieur de la quinte est jouee plus tard, a, la 2 IS e4"Le position.-

fingers for the double-stop of the

perfect Fifth, with bowing-exercises


tion of the double-stop of the

Preparaperfect Fifth when later on the lower or upper tone of the Fifth is soundin the
2<J

- 4th position. -

ed, in the 2i-4tJj position. -

The
double-

Major and Minor Triad


stops in the

in

2<I- 7Q position.- The

tung des Doppelgriffes der reinen Quinte bei spdterem Erklingen des unteren oder oberen Tones der Quinte in der 2.-4. Lage.- DerDur-undMollDreiklang in Doppelgriffen inder 2t 7. Lage.- Der gebrochene Dreiklang
in verschiedenen Tonarten,mit Stricharten, in der

L'accorddetroissons

broken Triad in various keys, with changes of bowing, in the 2^-7'i po1

2- 7.

Lage.

majeur et mineur en doubles cOrdes a la2 B e -? H e position.- L'accordbrise de trois sons en diversestonalites,
I

sition.

DISSONANT CHORDS: The diminished


Triad with enharmonic changes in single tones and double-stops through
various keys in the
2<?

-?th position.

DISSONIERENDE AKKORDE: Der verminderte Dreiklang mit enharmonischen Verdnderungen in einfachen Tonen und Doppelgriffen durch verschiedene Tonarten in der 2.-7. Lage.

avec coups d'archet, a, la


sition.

2-7 ve

po-

ACCORDS DISSONANTS:

L'accord diminue, avec changements enkarmo niques, en cordes simples et an doubles cordes, en diversestonalites ala

2me_7nie position.
1.

The placing of the fingers for the double-stop of the perfect fifth in
the

24 Position.

Aufsetzen der Finger fiir den Doppelgriff der reinen Quinte in der 2. Lage.

Maniere de placer
a la

les doigts

pour

la double corde de la quinte juste

2 e Position.

li* Fing Finger.

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?

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1.

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2.

The placing of the fingers for the double-stop of the perfect fifth
in the
3d Position.

Aufsetzen der Finger fur den D oppelgriff der reinen Quinte in der 3. Lage.

Maniere de placer
la

les doigts

pour
a,

la double corde de la quiute juste


3 1 "? Position.

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Sevcik Op. 11 VIII

of the fingers for the double-stop of the perfect fifth in ^i1 Position. the

The placing

Aufsetzen der Finger fur den Doppelgriff der reinen Quinte in der
4. Lage.

Maniere de placer les doigts pour la double corde de la quinte juste a, 4 e Position. la

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Tlie preparation of the double-stop of the perfect fifth where the lower or upper tone is played later,as the

arrow shows.
2l Position.

Vorbereitung des Doppelgriffes der rez'nen Quinte bei spat erem Erklingen des unteren oder oberen Tones, wz'e der Pfeil zeigt. 2. Lage.

Preparation de la double corde de


la quinte juste, quand la note inferieure ou superieure est

jouee plus

tard,

comme l'indique

la fleche. 2me Position.

*) In
is

repeating the measure the first note placed simultaneously with the last note

as a double-stop.

) Beim Wiederholen des Taktes wird die erste Note zugleich mif der letzten als Dftppelgriff aufgesetzt.

*) En repetant la mesnre la premiere note doit etr\e placee simult anement avec la

derniere\

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corde.

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5.

11

The preparation
3 rd _

of the double-stop

Vorbereitung des Doppelgriffes der


reinen Quinte in der
3.

La Preparation deladouble
de la quinte juste a la

corde

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6.

13

The preparation of the double-stop of the perfect fifth in the


4th Position.

Vorbereitung des Doppelgriffes der reinen Quinte in der


4. Lage.

Preparation de la double corde de


la quinte juste
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15

Major and minor Triad in doublestops in various keys.


2i Position.

Der Dur-und Moll-Dreiklang in


Doppelgriffen in verschiedenen Tonarten.

Accord de trois sons majeur etnrineur en doubles cordes endiverses tonalites.

2. Lage.
3

2 Position.

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Sevgik Op.UVIII

16

8.

Major and minor Triad in doublestops in various keys.


3* Position.

Der Dur-und Moll-Dreiklang in


Doppelgriffen in verschiedenen Tonarten.
3.

Accord de trois sons majeur et mineur en doubles cordes en diverses tonalites.

Lage.

,.^. 3 e Position.
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SevCik Op. 11 VIII

9.

17

Major and minor Triad in doublestops in various keys.

Der Dur-und Moll-Dreiklang


arten.
_

in

Doppelgriffen in verschiedenen T&n4. Lage.


3

Accord detrois sous majeur et mineur en doubles cordes en diversestonalites.


..; ,,.,-, 4me Position.

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Der Dur-und Moll-Dreiklang


arten.

in

Doppelgriffen in verschiedenen Ton5.

Accord de trois sons majeur et mi neur en doubles cordes endiversestonalites.

5$ Position,
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18
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11.

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stops in various keys.
h 6L Position.

in double-

Der Dur-und Moll- Dreiklang in Doppelgriffen in verschiedenen Tonarten.


6.

Accord de trois sons majeur et niineur en doubles cordes endiverses tonalites.

Lage.

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Der Dur-und Moll-Dreiklang in


Doppelgrz'ffen.
7.

Accord de trois spns majeur et mineur en doubles cordes.

7^ Position.
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Sevcik Op.U VIII

20

13.
ffebrochene Dreikl tinge in verschiedenen Toriarten mit Stricharten.

Broken triads in various keys with different kinds of bowing,


2i Position.

Accords brises de trois sons en diverses tonalites, avec variantes

du coup
2.

d'arcliet.
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evik Op. 11 VIII

14.

21

Broken triads with different kinds


of bowing.

Gebrochene Dreiklange mit Stricharten.


3.

Accords brises de trois sons avec vari antes du coup d'arehet.

34 Position. M.

Lage.

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Sevgik Op.ii VIII

Sp.

*"r.

i.

2..

22

15.
Oebrochene Dreiklange mit Stricharten.
4. Lage.
1

Broken triads with different kinds of bowing.


4th Position.

Accords brises de trbis sons avec variantes du coup d'archet.


4"2.e

Position.

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5i Position.

Gebrochene Dreiklange mit Stricharten.


5.

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5? Position.

Lage.

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Gebrochene Dreikl'ange mit Stricharten.


6.

Accords brises de trois sons avec variantes du coup d'archet.

6^

Position.

Lage.

6 e

Position.

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3
Sevfiik Op. 11 VIII

fe^^^s^S^^^ mm
i4
1
1

Broken triads with


of ibowing.

different kinds

Oebrochene Dreikl'dnge mit Stricharten.


7.

Accords brises de trois sons avec variantes du coup d'archet.

7th Position.

Lage.

7 Position.

SevSik Op. 11 VIII

19.

25

Dissonant chords. The diminished triad with enharmonic changes in single notes and double-stops in various keys in the 24 -repositions.

Dissonierende Akkorde. Der verminderte Dreiklang mit enharmom'schen Veranderungen ineirvfachen Tonen und Doppelgriffen durch
verschiedene Tonarten in der-S.-ZLage.

Accords dissonants. L'aecord diminue avec changements enharmoniques en eordes simples et en doubles eordes en divers tons a la
2 e -7.e position.

The diminished

triads:

*
! II

Die uerminderten Dreikldnge: ^j ;~jfj~ =g^|| - " * ff** Les accords diminues:

1.

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2.

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26
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6.

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Sevdik Op.ll VIII

Wrf

rnrfncccfiietfririiJr^rr^rfi

28
The diminished

20.
triads:

Die verminderten Dreikldnge: Les accords diminues:


2.

=w

2.
2.

Pos. Lage.
Pos..

It

^9

$
J j J 1
i

'

J.

j^'j
r

eJ

dv *

H
J

I'JJ

UUl U "J
'

i *=*

r^j

i> j

ijr

^^

r p

"15

-O

TT O

jKTrrrrrr^r^i^r
| *?JiJJT^
|||J P

if^T

Yip J^f

fr

ippU ijfip ijIJjj/jjJ pJiJ imiJ


I

|^
J
J J
'

sa * v-#
L

S
a)

II

J J^J

JJiJ

"J^J

'

^a

'

3.

Pos.
a e i <& v Pos.
I

5.
3.

JES E
2

ap

JiJJ^Jj

22

3
p o

5 tWwwj

ij ,W|
i

H|g

||

h*g

rf f^ r
p

^f

^ffff tff
,

ftf
tft-

ff^r

H a a

f f
i

ihr .y te.^rJf >

f=#

V i

i
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#^^
WHwt0
SevSik Op. 11 VIII

0-

p~r

UaL g_a

rrag

3 Wn*^:;^ PPP
Bat

zzz

fea g.

lJjJ,_

at*
2 O

Pf#
o
(3

29
4. Pos. 4. L a ? e 4. Pos.

-^^ t
O
1.

jJj Jll

U
o

I'

JlJ

BS
*h"Trr ir'Tr

''ex^rcLir

c*

3Z22

p=

T> Tr?
\

refirfcr

r^ ^f

fU
i

fhr^f

iW^r tff ife


. l i
i

*=

If 1

f fr^ifr^ f^

j2

i
^JJJjJ
5.

^
1<J

tp

p
q*ElJ

tari

rfe*
|

323

L.

ig 3=4*1

S*P
| ii

tz

?
,
i

Pos.
Pos.

fl

5.

(fo

^
O O
L

^t' l'i J

ms
r

Ufi'^

iJH

'rrj*rrn

|,J

r r

irPf

lJ
'

sr

mrmrnr

pppHii

fr'gj mrfr
^fr
Sev8ik Op.ll VIII

^
r
if

ii

rri ffir njj


o

ii

r^u Mrjr # op
p
i

rrrf

if

Hf

if r

S i|i JJ J^

^J
\

\>

m a

JT&

*L^'Ht.

Jta

B i

- E

a.

1 1

j pj_i

i
i

.|

e|

ii

i |

im .jj

qjj

[*

o
Ill
7.

^^^j^t^JJ
1

QO

\.

ooo
5*
o
~Z7

Pos.

7.

%'>'
Pos.

7.

< m.wr-m
o
a.

mfmf m.
.

a gg - _

jg
ffffffffi Vf f
fetttte

fTr rt
i

ig fYf tr
i i

yrl^ te

tt*

*.&

*# .

f\>ff

f-f\f

,f^f
frf
l

t^rttllf^ frrf
i
Sevcik Op.ll

f f fr

ii^rrf^r

i^r

u^r
id
r i

!E=JK
VUI

^F

iJ 1

^^ ?

21.
Z?z*^

31

The dimiilished triads: v er minderten Dreiklange: Les accords diminues:


2.

1
1
3,

Pos. 2.Lage. ~^~ x :_. 2. Poff' -(jfr^jfel


2.

JI

p.

!\3. "Jfl ^ jj ?J^]


j

Ijtf^aJ
o

jjtJff j

a Effi

SE^ggi Upl ItfS


j

^T^J^ ^J^j ^ l^jjlilllil


tt
l

i^

JJfl^

o
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o
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iiJr

i^ririiJ(,
i

icxg[iri J 'rriJrT
if *

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i

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j
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itt

f
ttrf

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Up
in.

B r*

f ff
i

tp

f ftp iffj pW?


i

iff

*i?ffcrffl!!cjj>r
O
Ol

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^
^.^

jg|
O

i^J33|itr
Q
O
.

J|*

iJ

i*rr

r^i^pfl
Oi

O,

3.

#.

Pos. Lage. ZimiS


Pos.

3.

.!r-^
:

ll

Jgj^^
2,

J
ti

JiiJ
3,

U
4
i

ijJ

ipiii||gi|iP
tfp

iiJi^J
1

Mtfjg
2 4

i=
i
f

rf

^^
r

^ mi
o,

i*f

#
i

J #r -e

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s:

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tff

fe nufl

^m?
i

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r 8ft
i .

H
^^

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trfrj-f f r r

jfr
i

f f rtf iff gf f g f f
,

rT f ff
i

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ff

f ffr
|

ff
tf
|

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i
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fr

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r cccrcccr
2

tt
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r H p

r^iT ^cccr^
,

t*c?i -^^ iS2 4


,

a
J

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SeveikOp.liVIII

32
4. 4.

Pos.
i

i.L
Pos.
It

n^

J "nJj B

S
.

^^^ J
tfr#p
i l

flj

fes^ j ' '


T^
't l j)
II

'

g n^3

PTOMfiWfJ
r^
i

Pt55

LUfirTT TTne'i
t^rffffr r
r

tfrtfpg Ittfgfe

tfr

T*

Hn^rirf Hr

ff
i

ff

m
ftg
i

.fff^fffr rf f f*f f fff


,

HrT|tr> f r f f ^f r Up
l

as
Ill

ltFP

f.

TT

eg I'LOj

m
HJ ^
il

1,

.,

3|

isi
lo lo

"
lo

ffDJJfl llJ^'iniJfMg E^y


5.
.5.

o,

IS p
J
i

pp3$pg

Pos.

Lage.
Pos.

5.

"MiiiJJ^^iiiJrfj

rgii'J

Jfji^rECcr

|Jl1

g^
i

fffipp

p*r fr
i

up

*
i

fs
te

ffrf Cfrr rf r

rf

a
|o
|o

i ifrffffff .rr f f T p.ff


i

<a

te

* *S

i
i
*J

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te
|o

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ffrr> rrf r

fyr iffy iffy i^fffr rffpri^fr^^fi^rrrrj


i

'

fefe

iltpme r<rr0m0mWr '% 5

K'n^iiJJ JJ

J
i

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i

riiJ

ii')

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SevCik Op.ll VIII

33
Ill
6.
&'.

Pos. Lage.
Pos.

6.

fpg

^
L

IV

3 4

'

F#

tte-t*

^ fc* p

trr ntrHf

i'rfrwtfi

*gte fe%# ^ileiSte *%fe ttpffg *to


4

grjttc f Trf fi
i i

fife

te terfg

y^\^T\^f\\f

i^^ ^ K^f\^%if^^
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?ett'^r^Cflr
7.

|
i

l l l

j;i

iE.

t' iei'

1
i

rn
i

rl

' i

'J
J

ii

jj,

Pos.

7. 7.

Lage.
Pos.

g^^ ill
tJ

2 rv

m
l

4^=.

^ffr tfffF

jffr^ lUrJ r&*

fe

as*

Fllr

gj

teas igottr^ I f

yf Eg

te ^i%gge* fr fry. fF
i

*%fe g =*

ftgfi tefite

%#i

4_J=

(tfiiS|i|gs

#ffi*fe

fell

ifeng

*gifeftae%*te te^t

*fe i

Sevgik Op.il VIII

34

d)(l.

The diminished triads: Die verminderten Dreiklange: Les accords dimimies:

2.

Pos.

l ?T

'

fa jljjJjJ^JJj
1

Ij-jJ

U^J ll-fl.^
zg
.b

i ^we^Se^
" r !

3_

^^ ^
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i r^irr^cx^
l>0

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|J|

s
r "T

o,

J
|

r'

^
I

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kg
1

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I.

u
i

k*Jl

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3.

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T pr r rT
l
i

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LJ

ffl

i
i

p ^^r
r
ii

l,

rjr^V

l,

r-i^^^
^jj ii|Bii

I ^^g
Pos. Pos.

iJJJJ^iJM^^U^

3.

31

jj^^JJjljnJ U^jl^jjJlJj^^^JU^^^ng
-fif.

1
i

"^

o,

JJTJJ

>

j ik

_ r
i

'

J
r
fa
I

r^jviij^Lbprr
||
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r.

|o

is
*^
'
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,

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p.

t>i

a ~

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i i

4 g
,
i

r r_rr ^^"fea

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ipr
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u
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o
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rT-xf rfrri'rrr

ff^
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tx.? li i,. f H. Jm Tl =|
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o.

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i

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r^

H # fa i *te

ii

i>

rJfi^JiJpri'PjpJP

i'JJj

*|

3evcik0p.il VIII

35
4.

Pos.

iT

p ^jltjjO^JJU^J MM
l

gtfri

*gtftf\u<

;m ;w* '
i

(jicg-f' UflJ' iii

atfN^
' i

i.

3
o

E
I"*'

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rrr

I'rr'r

ury V rf fr f f f
i

^
3J?S
,

yf f ff fjg IS.
,

T*

#-4-

iU
<

fc!rtfifff rff
l

Tf,Tff,f rr^rrrf
t

|f

T|fTfii rf

^TOrmi^gg
i

tj

^^^^^^
3|,

_W

r^ Vrji^JIPir ^02=^3- 5jj FF


^''
5.

l-HJ

J jJ^J

IJbJ^I^^^H

Pos.

/>

sr g^^itjjtjjjjjj
fc=fe
I

&
a
l I

..

jJtj

jju ij^ it^crc[Cf


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U

tJr'

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i

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i ggg=
4

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1 i

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fr

T fp ypf if^f fr
l
I

r f f f f r 't^t f f f
i

iff

te

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^
4
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rr frrf

frV

t'rf U^Cf I^ T jffrrf rf ^r'T


l

l^f^f' lr f

ii

t^^

^==t s

ps

^^~

Udjdd pg
[

,j

J[,J

g|

[,

^
;

Sevcik Op. 11 VIII

36
Pos.

6.

_/>

Jfr

BI
l

ffl \litrtrrr?

J Jr CTF3=^
J
[

J J
O 3

s^

[>. #jf#

i=m

Wk
303

IS
o o 3

tSTf^ff,. , #p h** ! ^i^* i*CSi


l

M
'

..s^,

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te

I m
gig
1
''

1.3,

tT

P~1^t

r'rt n

ftWrr it UUW
"'"-J
1-

J
3

-1

lp''f
|o
lo

-i
i

Vr lOTJJP rJJ Jrife ii


l

"

7. 7.

7.

Pos. Lage. Pos.

J J
iv

hJXPJJJlu
2Z2Z

r J iJ

rj
2F=^

if

Ju irffrr f rr

iJ'f r

ir^' frf j o^ 2

ps v
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4
.

to-t

'

i 1

yfrirv

I fr*r .fffftfff ,rf r f r*E ftr


i
i

ffii'ligtf

ife ^t ! ^^f
1

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^l ? ^f ^
1

?? 000
1

*
J?e

"I

f ffFf^rrrff

^ fiftfifPr

3
,

ufaba

1.
1
.

M'lffJBflfl rJJ JJi'UJi'l


l
l

Sevgik Op. 11 VIII

23.
The diminished
triads:
:

37

Die ver minder ten Dreiklange: Les accords diminues:


2.

n*~

Pos.

2.Lage. 2. Po

Jf

j*

jitTO^JiUV^^^'^^U'^VW =m^^T ^ pg j^Bi gj^ ^ ^S

ggg

^^^^Bg
o
3.

^JJfll

if

fe#

P s?

jjp 1

m
te=fc

Pos.

3.

Pos

PS
i

W*

^ J^JUsif^iiJ^'WM SJ^
i

T7

o
j

j'rn^ri/r

'

ie

^T^rir^-rf^ff^
k&\>*.
1 i

*
o
IP

r^

rii

rr

rr

H fi^ifr

m^p

ir^^ rff H^Vr^' '^^^^


11

evcik Op.llVIII

38
Pos.
Pos.

4.

!??'
4.

3SEBE 35
IV

""JJi/f *--=-# te^

-^

cr/ pit

^ry r^y r^^ B


i

ii i

^^p^^^^P i
F*
|(i

4
In

In

r^f i^tf iF^


^ fmtfff ftf^
e;

ffi
{

m ^rtftf^r
*

f r*f
|

i^f
k*tF

.*
i

fr

U
i

ii

frrrrer frr

fff

^Tirgri-rrrr

ri.

rrif.flir ftfr

s*?j?e m*M-M
ftrvp-'-f-

5.
5.

ytf I* gjgp iit'jpgp^iitf

j^j

Hj

'f

itjgjjTjJitf J

jf ^is

^==^rJij^i^^^r^ :|jr^llpg3|ij
Pos.

J^ri^^^
rp
\

rv

s
t

rfrf

r r r f

pr

iy

fe^ ^r a^#
w-

ii

it

ffh
4
zr

^^
o 4

fTpffFff ff"f ."fff.^f .rfrrrrri'/fr^ip^f


l

M
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*f Ff

i
i
j

'f

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s=

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t:a=fe 3 i Uy^UW^ vJJJJMl h. 1Ul


b
l
l

b
|

jl-

fepl

SevEik Op. 11 VIII

39
6. 6.

Pos.

6.

Lage. Pos.

- IV

^
^l

^g^
^fFffffr

rFitHir^ Tirr
fe^
^
k

I* U r^Tr^
-

j=g

^^
e

i
&
a-*

fttf ff ft kf*&T
Prrffff, f
t

* Ugte te^g

jffi

j|||||j

Hi

:i?P

SitteE

r rff
,

^
s

-8

M
Pos.
.

itprP E^
i

lfriSl#p#Friri>^ pffpg bH
l

tf

b
l

^p

tfOTlm-0 * .fflJ-l tfr J^p

Mrjfff"ipil
PS>-

7.

7-

Lage.
Pos.

'.

7.

&v\l\$$HR
J

rH rr" }k* j r jii[ r yjii^ rrrrr ,riHM^


b
i i

?^
ii
:|

Fu3
i

^U*
i

ff fff
i

rf*f

p^ ^ 5 ffrrffff
|

t#

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kfr>

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s
Jli^H

i PI #=E
Sevcik'Op.ll VIII

u^
l

^g |gg

B^Jl3J^lP
||
|

^Ju

Jl l

40

24.
The diminished triads: Die verminderten Dreiklange: Los accords diminues:

2.
2.

Pos. Pos.

**

33 o v
vro

-p5

^T
'*
|

j jJ
l
'
\

'

^J-LUJ

'.UtAlJ

tt* J 'U*
tug
i

a 'J :f
l

*
I

'

'
1 |

t^FLK
h
o
'

Ft *
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i

u
I

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'

a t

^h* p pjg
:

&.W-*
S=F

I
wsm

ff r
t

T^ rrf sff
,

g ha

^i eBr[ Ltr

''
i

riy t fp

^ ri cB
t b

cC iy

m^^m^^m
tebfc
4.

&-' VJUJJ>'"[Jg)
Ut> *-S7

53^

Pos.

4. Lage. 4. Pos.

hJ-# 35 Bt kl LTJJ3 < S3 1

= #

B
1>J

^1>.

yn

te=# te=f*

#*1

rrp

^r^ ^,
1

i ^^ h^

t. fca=

^e
liZttttte 1>*S% o&e Ff T F f rff
|
|

iaki
#fifcs
i

^-^
te
!>#8 3

V),.-,
|

ff T i Wflflf
i

fr

TT frft
'

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t>>rt rt
i

fi

^[[[f r^ ^rf if^ i^^r


i i

't

fy

'^V

'

SevCik Op. 11 VIII

41
5.

Pos.
Pos.
:

5.

^=E ^IT^^ UZCM,


i

fe*
.i

o m g r r Pifc, r p i?ri>g

\\>

VJi^ji^ rWfff
i

rr_c

ri^rtiVr ^
^ik
''at*,

w rf
t
i

3>
v

^it^itt-tt*

mm
IV

Wt^

\>b\&

&b&

^tf^V

ff'r>rfff| Tp r

rV#
NS

*^_* i-r-#

^Mf^P
j

Ftf#

i TT^f^lTJyil i ^ lUh
Hf I i^rrfcr^r^
.

6. 6.

Pos.

Pol

Q
z:

77

jffl

fl]|jfor gpjpj
m
i

^
I^a

P m P

M^
nz

hat* !^*. ha frfr rffrftTr .T

i>^j= aa *

i^^a ^fcf
hftfg

^jfcg

^g gggggg

^al?

%g

^
o

%hg

^ I

MSfeM#agiglfeig-

l ^fe

>

II

rTT^nrrnr^^r TJ'r-i'rj'riJ'TT
t>
i
i

IlJh

7.

Pos.

7. 7.

Lage
Pos

^ i^ua^^i^^ ^f
* ^
iO
,

<9 -

Ikl ULltt
r

lOT Cg^r
i

^
i* ^

^b rVVfTffr rPf ^a* fe


k.

(,/iV***.^

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gag a fa* ^aif

te#
Sevcik Op.U VIII

ii

[,^[^f r^r iVtP r^" ^fecr


|b
i

t>
|

t,

r^-

^^*

Abbreviations and Signs.


Designation of the Length of the

Abkiirzungen und Zeichen.


Bezeichnung der Bogenlange durch
Bruchzahlen.
i i
i

Abreviations

et

Signes.

Division de l'arehet au moyen de


fractions.
i

Bow by means
Whole Bow.
Half Bow.
First Half.

of fractions:

Ganzer Bogen.

I
i

Tout l'arehet.

3
1.

Hatter Bogen.
Erste Hdlfte.

2
1.

Demi- archet.
Premiere moitie.
Seconde moitie.

3
3.

2
2.

Second

Half.

3
1

Zweite Hdlfte.

2
1

One Third.
3
1.

Ein Drittel

den Bogens.

Two

Thirds.

3
3
1.

Zwei

Drittel des Bogens.

3 3
3
1.

Un

tiers de l'arehet. tiers de l'arehet.


tiers.

Deux

3
2.

Firfct Third.

3
2.

Erstes Drittel.

3
2.

Premier

3
8.

Second Third.
Third Third.

3
3.

Zweites Drittel.
Drittes Drittel.

3
3.

Deuxieme

tiers.

3
1

3
1

3
1

Trolsieme tiers.

4
3

One Quarter.
Three Quarters.
2.

4
3 4
1.
'

Ein

Viertel des Bogens.

4
3

Un quart
2
I' I'

de l'arehet.

1
1.

Drei Viertel des Bogens.


I'

4
1.

Trois quarts de l'arehet.

3.

First, Second, Third, Fourth

4
2. 3 '

Quarter.

Erstes, zweites, drittes, viertes Viertel des Bogens.

4 4
2. 3
'

Premier, deuxieme, troisieme, quatrieme quart.


et

^2" Second and Third Quarters.

Zweites und drittes Viertel.

Deuxieme
Tirez

troisieme quart.

n
V

Down-lnw.
Up-bow. 1 )

n.

Herunteisfrich
Hinaufstrich
x
)

n
V

Poussez. 1)

Broad Bow.
Short, detached (staccato),

Breit gestossen (gezogen).


Abgestossen,
staccato).

Largement.
Bref, martele (staccato)

gehammert

(martele

hammered
"
(sautille;
)

(martele).

Springing, bounding,
spiccato; saltato).

Springend, geworfen (sautille;


spiccato)

"

Sautille (spiccato).

Lift Bow.

Bogen
(Luftpause) 3)
/ i
ii

fieben.

Levez l'arehet.

/ I

Kunstpause

Kunstpause

(Luftpause) 3)

/
I

Kunstpause (Luftpause) 8)
Premiere corde, Mi.

First String, E.

Erste Saite, E.

H
HI

Second String, A.
Third String, D.
Fourth String,
G. 3 )

Zweite Saite, A.
Dritte Saite, D.
Vie7-te Saite, G. 3 )

H
in

Deuxieme

corde, La.

m
IV
o

Troisieme corde, Re.

IV
o

rV
o

Quatrieme corde,
Corde a vide.
le

Sol. 3 )

Open String.

Leere Saite.

Sul E,_on the E-string.


i

Sul E,
l

Auf der E- Saite.

Sul Mi,_ Sur


l

mi.

First Finger remains on string.

Liegenlassen des ersten Fingers. Liegenlassen des Fingers auf weldas Hdkclien zeigt.
Mitte des Bogens.

Retenez

le

premier doigt sur la corde.


doigt indique par le

The

little
is

finger

to

hook indicates which remain on string.


M.
Fr.

Retenez
crochet.
M.

le

c/ien

M.
Fr.

Middle of the Bow.

Milieu de l'arehet.

At the Nut.

Am Froscfi.
An der
Spitze.

Fr.

Au
A

talon de l'arehet.

Sp. At the Point.

Sp.

Sp.

la pointe de l'arehet.

1)

Unless otherwise indicated, the first measure begins at the nut.


Lift

1)

O/t/ie

rfer Anfangsta/ct
~) ")

3
)

Bow and make a brief rest. No practising should be done on strings


not true in the fifths.

fiezezchnung der Kichtnng begittnt iinwer am Frosch. Bogen fieben und fcurze Pause wachen.
Saiten soil nicht

^)

Faute d'indication speciale on commence la premiere mesure au talon.

3 ) Levez l'arehet en faisant


3
)

un bref

silence.

Aaf -nicht quin tenreinen


geh'bf werden.

On

ne doit jouer que sur des cordes absolujustes.

ment

CONTENTS OF

SCHOOL OF INTONATION
By

OTAKAR
OPUS

SEVCIK
I!

CLASSIFICATION OF THE SUBJECT-MATTER.


Part I
"
" "

EINTEILUNG DES LEHRSTOFFES


Abteilung 1
" "

ARRANGEMENT DES
MATIERES.
Lage.

Introduction to
1st Position.]
1

the 1st Position.

Ha iS
IV

Ila
lib 1 III

l ffi
1st
Part
Position.
J

Supplementary*
rhythmic

"

IV

Einfiihrung 1. Lage. Lage. Lage. Lage.


1 1.
1.
I

in die erste

Partie I

Introduction a la premiere poiition.

Nebenbei

vorzunehmen*

1.

lla lib 1 III

Ire

Scales from Parts Ha and lib. Pieces (1st position, Grade I) with piano. 2

VThe

IV

Major

*Abt. VDie rhythmisierten DurTonleitern aus Abt. lla und lib. Vortragsstiicke (1. Lage, Stufe 1) mit Wavier?

"

Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin to
the 29 Duettinos

Einfiihrung

in

die

2.-7.

Lage.

Position. } Matieres Position. SupplemenPosition, f taires.* Position. J *Partie Les Gammes majeures rythmiques des Parties Ila et Compositions (Ire posilib. tion, Degre I) avec piano. 2 Introduction a la 2me-7me Po-

Ire Ire Ire

Dam:
sotuie

Abt.
die

from Parts

I,

Ha
Vil

and
"
"

lib.

Violinstimme zu den 29 Duettinen aus Abt. I, lla und lib.

lib, zvjeite

III

und: IF,

sition.

Matieres

taires: Parties lib, III et

supplemenIV;

aussi le second violon des 29 Duettini des Parties I, Ila et


lib.

2d-7th Via VIb _2d-7th

Position. ). ..,+ ^Supplementary Position. f40 Bohemian Melodies in the 2d7th position.

HI: iZ.
t40
2.-7.
sen.

bohmische 2.-7. Lage.

Weisen

f-f

in

der

Via -2me-7me VIb -2me-7me

Position^M^" " em n Su Position.]

"

Vic
VII

2d-7th

Position. 40

f40 Melodies bohemiennes dans

re

Bohemian

Vic
VII

Melodies.
"

Supplementary: Parts

2d-7th
ing).

Via and VIb.


Position.

Lage.W bohmische WeiDazu: Abt. Via und VIb.

Vie
VII
VIII

2me-7me position. 2me-7me Position. 40Melodies


la

bohemiennes.

Supplementary:

Part XII (Introduction to Shift" "


"'

2.-7. Lage.D azu: Abt. XII (Einfiihrung in den Lagenvjechset).

2me-7me

Matieres supplementaires: Parties Via et VIb.


Position.
:

Matieres

VIII

IX

"

XI

2d-7th Position. 2d-7th Position.] 2d-7th Position. 2d-7th Position.


Part

VIII

-r2.-7.

Lage.
] ) J

Supplementary

IX

IX

X
XI

2d violin to the 40 Bohemian Melodies (Part Vic). W. A. Mozart, Sonatas for violin and piano, No. 4, 7, and others.

XIIThe

Lage. 2.-7. Lage. 2.-7. Lage.


2.-7.

X
Dazu%

XI

2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. Partie XII Le second violon
| [ J

Supplemental es Partie XII (Introduction au demanche). 2me-7me Position.


taires.

lAbt.

"

XII s

2d-7th
of W. others.

Position.

Introduction

to

XIIDie zweite Violinstimme aus den 40 bbhmischen Weisen (Abt. VIc).W. A. Mozart, Sonaten fiir Violine u. Klavier, Nr. 4, 7, u. a.
Lage.

xn=

2me-7me
tion

des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc.
Position.

Introduc-

Shifting.

Supplementary: Sonatas A. Mozart, Nos. 4, 7, and


Shift-

XII s

den Lagenvnechsel. -Dazu: Sonaten von W. A. Mozart, Nr. 4, 7, u. a.


2.-7.

Einfiihrung

in

XIII* -Transitional Tone used in


ing

Scales in a Variety Octaves. of Forms through 3 Concert-studies Supplementary


:

Diatonic

XIII 4

Lagenverbindungston.
:

Diatonische Tonleitern in verschiedener

Rode, Concerto No. 6; Viotti, Pieces from Concerto No. 23 Grade III.
;

Form durch 3 Oktaven. Dazu Konzertstudien Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstiicke aus der 3.'
Stufe.

XIV

-Intonation of Double Stops. Supplementary: Continuation of Concert-studies and Pieces from Grades III and IV.
1

XIV

Intonieren

der

Doppelgriffe.

Dazu: Foriseizung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jederdie gleichen sind, konnen die rhythmischen Uebungen aus Abt. lla und lib selbstdndig vorgenommen vierden, ohne mit den gleichlaufenden Uebungen fiir die linie Hand gleichen Schritt zu halten. In diesem Falle jedoch sind diese Bogenubungen bei den folgenden Abieilungen nachzuholen.

au demanche. Matieres supplementaires : W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc. XIII Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires fi t u d e s de Concert: Rode, Concert No. 6; Viotti, Concert No. 23; compositions du degre III. XIV Intonation des doubles cordes. Matieres supplementaires Continuation des fitudes de Concert et compositions des degres III et IV.

1 Because the sense of rhythm varies in individuals, the exercises in Parts and lib may

Ha

Da

mann

be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
Parts.
2

It is of great

play

frequently

importance for the beginner to with piano accompaniment.

difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intonation, proper crescendos and decrescendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful

The

f'dnger

tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompaniment. 8 To be studied concurrently with Parts Via, VIb, Vic and VII. * To be studied concurrently with Parts VIII, IX, X and XI.

- Haufiges Spielen mit Klavier ist fiir den Anvon grossier Wichtigkeit. Die Klangverschiedenheit zivischen Geige und Klavier, die vollen Harmonien des Stuckes, die feine Nuancierung in der begleitenden Klavier stimme leiten und dr'dngen den Anf'dnger zum reinen Intonieren, zum Anschvcellen und Abschwdchen, zum Akzentuieren der Tone. Er ivird geradezu gezvmngen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb iann man schon neben Abt. IIIV entsprechend leichtere kleine Stiicie mit

Klavier vornehmen.
3

Neben Abt. Via, VIb, Vie und VII vorzuNeben Abt. VIII, IX,

nehmen.
4

und XI vorzunehmen.

Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ha et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes. 2 Pour le commensant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intonation juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tcus ces details le forcent a cultiver une belle_ sonorite Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer l'etude de pieces exercices faciles avec piano conjointement aux des Parties II-IV. 3 A etudier conjointement aux Parties Via, VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII, IX, X, XL
1

Violin
in SIV PARTS

by
I!

OP.

11.

Contents of

INTERMEDIATE STUDIES
FROM THE 2nd TO THE
7th

Book

III.

POSITION
X:

Price Each Part $1.75

PART

VII:

CHROMATIC SHIFTING

on

PART

one and on two Strings, with Controlling Open String. The Augmented Second. Harmonic Minor Scales, with Bowing-Exercises forDetache,Legato, Staccato and Spiccato.

PART

VIII: CHORDS: Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for Bowing. Preparation of the Double-Stop of the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The Broken Triad in various Keys, with Changes of Bowing. DISSONANT CHORDS: The Diminished Triad, with Enharmonic Changes, in Single Tones and Double-Stops.

CONSONANT

Arpeggios through the with various kinds of Bowing. The Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
Circle of Fifths in all Positions,

enth in all Keys. inant Seventh in

The Chord of the Dominant SevThe Chord of the Dom-

PART

XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Contra/ling

Open

String.

The same on two

Strings.

Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh, the Minor

Third and the Major Sixth, with a Controlling

Open

String.

PART
ued.

Exercises

for

Shifting

IX:

Diminished Triad continThe Augmented Triad in Single Tones


Exercises
Copyright

The

Positions
different

and Finger-Exercises employing Combinations of Stops for the


Seventh.

and Double Stops, with Fingering and Bowing.

for

Chord of the Diminished


ing of Fingers.
of the Publisher

Stretch-

Property

HARMS,
62

Incorporated
NEW YORK
LONDON, ENGLAND

WEST

45th STREET,

CHAPPELL

&. CO., Ltd.,

Printed in U. S. A.

Copyright, 1922, by

Harms

Inc.

lUillilllllliii i

JjsMT

PART
in the

IX.
Position.

ABTEILUNG
Inhalt.

IX.
a

PARTIE
la

IX.

Dissonant Chords

2nd -7th
Contents.

Dissonierende Akkorde in der 2.-7. Lage.


Fortsetzung des verminderten Dreiklanges. Der iiberm'dssige Drei klangin der 2. -7. Lage in einfachen Griffen und in Doppelgriffen,mit Finger-und Bogenubungen.

Accords dissonants

2me-7me Position.

Table des Matieres.

Continuation of the Diminished Triad. The Augmented Triad in the 2d-?th pos ition in single tones and in double - stops, with fingerand bowing-exercises.
,

Continuation de l'aecord diminue. L' accord augmente a la 2H&- 7ffieposition en cordes simples et en doubles
cordes,avec exercices pour les doigts
et

pour

le

coup d'arcbet.

Dissonant Chords.
2d 7th position. (Continuation of the exercises in Part VHI.)
in the

Dissonierende Akkorde.
Der verminderte Dreiklang in der 2.-7.Lage.(Fortsetzung der tlbungen
der
aJ

Accords dissonants.
a) L'aecord diminue a la 2me-7me position. (Continuation des exercices de la Partie VIII.)

a^ The diminished triad

VLU

Abteilung.)
1.

The diminished triads: Die verminderten Dreikl'dnge: Les accords diminues:

% ***
.,

i'

3
2.

I
3 l

*
i
1

1
3.

I
3 3
r-1

Pos.

f\

O O

2.Po
ffi

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v?~i

m -*i-*-)M-?-h-d

&#
3-^8-

m-p

id

f
\
I

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f J =g^l?J J

=5= -

Azy

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i i

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i i

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l

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33^ oof
3

--

4
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b

i
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m
1

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q

o
'

-*

m m

3.

Pos.
Pos.

3.

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VJ -E5 J * y *

3J
I

mJJi.
;

J
i

dd dd f-b

m
fi
b
i

(2)"

dgj

fi

rrYf^T

rf

f
i

trf f r f f

^e-s

JWhen

combined a diminished
is the result.

seventh chord Sevcik.Op.n.rX.

*'J>urc/i Verbindung entsteht ein venninderter Septimen. Akkord.

*'

Quand on combine

obtient

les deux cordes on un accord de septieme diminuee.

#-]

P-0a).

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n,jJ

*=*

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i

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4.

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Latre 4. Xa e -

JF~~~

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4. Pos.

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m
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1

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tat

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Sevcik,Op.ll.IX.

IV
5. 5.

5.

Pos. Lage, Pos.

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Sevik,Op.U.IX.

2.(6*)
The diminished Triads: Die verminderten Dreiklange: Les accords diminues:

2.Pos.
2. Lage. -

2.Pos.

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f
vLeNQ 6

felli
I

*JN6

is to

be taken before

N2

in

order to

alternate with the

augmented triad

*)NI6 ist vor NL2 vorztmehmenum mit dem ubermassigenDreiklangabzHwechsehi.

doit etre etudieavar.tleN92pour alterner

avec l'accord augments.

evcik,Op.U.

IX

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ff

JTIF F,evcik,0p.ll.

*f ggfff f

f-

f I j ff
l

gg I f

f f*f fff

ft j f ."pf
l>

ff r? ,*f rfr

ffr rf

nfr^
ts

*#
tr

rn r

rr r r r Hif rh r
"l

f r

it

AJJ J J

i
|

ii

4 JJ^'

njJms g rwm'rr ?
i

i.i

rVftfrfflrfft
P"TC

^fifrf^m Vf^
.

rmftp [f iJ.j
i

Jj j
i

j
i i

^
i

rrrMrr^Wn^ffrtffPf rr^n^rrruni ir^j [rr^ J3


i i

_i

6.Pos.
6. Pos.

_A
W)
(* v/
ti e,
:

6.Lage.JL

'

^rri 'NriM'iWr
J
i

ii

ei

rrfirrtrrf r^rf iWffti^fffi^ffftitfff


'(!)-

^f*F?
(D-

^^f
up

ff ff ff
l

fyff
|

<

Ff

rfr^
r

<

r
i

fr rr
i

=
(21_

1 j

r ir

u-p E=TO

ru

sjjiigl

i
I

P
^ffi

IP
(-

^ J]V%
I

i'pp *
|

-^
r~ri
|t

m \ff Wtff tof

iff

r/t

f^

Hrj-KJ J

h^ J j ijpjjp ip

j
7.

rr YTTr
_A
Jr

bite*.
i

W==te
ff f

fff
^

tef-=*tp ,m EfT
i

rrTtf r

.jr*i>.

^
r

,H

,.n
,

Pos.
Lage.

7.
7.

Pos.

^P g
IX

f*

J>J
IV

JiJJ^Jtfrr iiE

r=?

v#^f

^e

Sevcik.Op.il.

fff
i

PPfm
i

Prff ^ffrf
i i

m=
(2)-

^rfn^

Ma
^^
w
-m

I rrrw?

rur r

gaggi
i jl l

r^r r r

rt
i

rr

p ta^
i[^Jie

.i?

J Jlrtfli.rpltf r
1

PP
|

trrf
[J

^f
..
i

ffWffWFf
i

I
i
l

iggig jBfT ffnpT# FFTY


|

tegto
i

Tf1? rrr7
i

w.^

rjffr irrift
l

Ji
i

.
1

I* 2S#

IS
O

be^ 14* E tes= :=:ee fS

Fmrrftfr. f
3.(7)
triads.-

n
i

itr^tr

N?7. Follows.
/o^tf NV7.

A continuer avecle.N

7.

The diminished

Die vermindertcn Dreikl'dyige: Les accords diminues:

2-

2.Pos.
I:

gf

g)

^. jlJJbJJtfJj IjhJJ UJ#

r~z

7m

ijj"r*
r

^r^

P
1

m
3

i?*

mViFm ftr^r

,tf

SO

rr f>ii r r

r^rrrr^'ri^^
pr

j f rnff f up
|

|1Tr

rf? |Pr | r

1*

3JE
(1)

P
* J
ItfJ

Q-.1

^
3

w~w

'

i ^

_i
l

fj|Jf J

3 l"|tJJ^JJI'bJ
i

JbJ

JJ
i

PJ
i

0_
t

2"

s jjw 'wJ ^j
'

T n ja .j r r i rr fr
i

rr

rf ffr*

it

Sevcik,Op.ll.rX

r#p^ r^rfV^
*J
(1)

-w-=
i

i
i

p
JJ
i

1 1

*$*

tf

JbJ

ItAJj

(*

J J

#^

ff

JJ_

W^*-

pep p r
'(!)-

|;

m fe V* 0#r

t'

'

\\>00$rrf} \>*T
\

?T #'r^Tr
\

rf rf rrff ff
i

rfrf

ffff ff

>

P
,

f rf r,f fr f#rr f#
,

m>-

^=a=

fpt|pl?|"f |p?^
'(i).

]*

jjgjgjgEP "77# r

2,

l?p f

?
J
J
ij

=i

p==p

atp

'(D-

^^

53 *

fj_j[J J

BE

JjbJjA

rfc

b**i-

-jg
3
(i)

trr\>

m m

j&*

y= -!^-a **

f*
i

HI

-J

JUtf J

W-

r^

2
1

4.

Pos.

ll

:poV^^^^0^
OK

:zp tJJ'T'i
i i

atr

j
at

PpB

r r ^r Ll E= Mil pf} 't r r r M" r rr^ r r i U i "Sov 4 r f r f ffCfrf frrriffrr#rT f# r f r ffrrV? Pr r * *


r =l=
#
i i

0*0
I

rr ^f r f

i I

\u

'

'

'

'a

'

Sevcik,Op.U.K

JO

frfbrrft,
(D-

||fe

gfea r^TT^r

arc

^intJr^
i

J
i

**\>d m

i
i

s i

^r~2 :
\

^fe b**

rf\,j

JT^rTrr '^ \,jwjm ^^E=

P
1

i'

t r^^rrr f FT^ M fff f fff?

5. 5.

Pos. Lage.

5.Po-

i
.

xt

-e

m~ x*0-0 m m~ *

S>

" J bJ

m-

m*** ^=XS*=X=*.

P^f

-s

SHE

P
\

/'^g^ itf7

ttf

r f

Tr tippr7| 7 TrTfrrTTfT\^?{f rrfftf


|

b%~

-.te-.fi

tefi^*:ir> te-.f.

t*
i

rfrf
JOF

f ff
4

fffifM
1

ff ffff
i

f ff fff

^^
ff
3

I f frmfT r
*
rOh
O,

f
i

f
g

ifHrr'fr ry r
i

1f

fbm m .O*

2>PE PC =?Cpr- ZI

HI

^i^i jJin[JrJi J7^uji


f

bJ

g j pe^ 3^j
\>-0

^ P

fe
>Tr
i i

+.J>0 %&-.
i

rr Jtrf itffrff
l

f !fff fffg
|

rr^rin''rr TrfJ
i

^J1ji^

ll

j, .ii.|.
l

nJ

^ f'rr
l

ni
6. 6.

Pos. _
Lage.

6.

Pos.

^
i

IV

JEB!
1

'

lP#p p j=^ y^-

1_
in

Sevcik,Op.ll.

IX

1J

_!?:-.

* -.^ftftte f rfrf tf
\> 2
i i

ft

ft

fff ffff
|

te

fi

kft.
|

fP_frf
|

ht

Tr^ ffmp#J#
^. 1.
|

nr
4
1

rfirr'r
'42t
(I)-

^r^rfrr'Tfr

rrf ri'rrrr-iri^

r-i

JT XX
ttJ

ir^r
l>ftft.

fe --.^ftfe

fefil>ft~i.

IV
7.Pos.

P
r
-ffil

TT
l>ft
i

tir~>
1

#r

g i^f ftfrrf g

i^rfr ^

.rrfr, S .f,sf rrffPf


l

rffF fffFm
l |

ft

--.kftftteft -.fe-.fi; bftftfefififi

a
l

bftg*g
-or.

ggtefitftfi

^*

tefibftft-r*

fP Tfff ffffr
,
,

te^fi*

bftft

f^^
ft

ft

ffrrrT
'

^r^r
' '

'

'

rrrr rriPrrr *rr rrr?irrrr 'rrrrrr - -" LLU g 11^-l


'

'
1

'

'

'

'

I 1

rJ
'

^
1

;fe -Jftte

ite fe% t

m $
Sevcik.Op.li.

r
3

rrf fff fff iFFrff


1

i-

PPr#
1

f rr

tP'r rr ri 'crJ

f^i A
1

N8.Foll<ws. Folgt NZ8.


continucr avec le N<?

12

4.(8.)

The diminished

triads:
jfc-j

Die oerminderten Dreiklange: Les accords diminues-.

^_ % 8
**

II

2.

2.

Pos. Lage. 2. Pos.

M.

/C

i*

p|
-a^a-

- *

yb<

^^

-J-

b*

*"*
4
4 *

(D

CU
h*b*

CJ

CJ

cjipcDcrpicrJccrDj
1
4

-,i..-p..p_p.p.2PT2pfsf sf

b-*i
,p

nig

e*

Tin

J"
spiccato

4^
2

4^
2

i
j ti

-P-

_ _ _ sqye 3 o-p-o-Fo P iL, P


. .

n;iLLT
:

CCTKKj

Jn n ^ * * f
"
4 4

*
o

*"

H3^ D ^

\>.%k:.

3.

3. 3.

Pos. Lage. Pos.

A
,

1.

M
_.l
>

-4411
J f -. ^ nr^r^fc
J_^

(*

< <?

E ^ .1?5
77

^ w

m _^

m #

-m

m w

qs&itt^wvv

0 *

rfi#

-#

rb

#.

m.

gilii
p
_

i/rirjifo^rLrlrifo-iir

a ^fpff

bJ

Tl JJ] J1 TT

'{- kJ- f
b

IB JJJ

* ? J - -p-JrrJ^::
l

f^ f ^ fo*

a^ r^r1^ HJJJ- ^^
b
i

^ . .
b
|

CnrTrrr^iJ^^

Sevcik, Op.U.IX.

13

4.
-

Pos.

4 L

Q
-

M
V
i

/jk

=:F

*-

*rjjJ
4

aa fflj?
4
b#.

.^bf

lL-l?

F :z^c

eJlfdr rT
b

'uS

f<K*

#T 1*56*1*?

s^

^Mjjlfegife
vr
i
b

4_

tJi,jr

J j ^

*Ttibf:

-^K

Pos. 5.Lage. 5. Pos.


5.

W
#-!

A
l

"

IV

>

"

^ it

tf.

MJ
1

h J J bJ
1.

3
I
I

3,

fT

I
,

>f of

^l^fi
V

^
'I 2

f bi.^SS*

si

nr
b

^f rf
i

ff f f rf f y f r
,

f r rr

ftt:

^f-p -f
^0
^:
l

b
(D_

f~r

f^r T r irr^rr^T

f^
t>

rp.^rr^pJ

b
i

i
b

LJ

'

1 m

JiJlb 1 rit> T'rl


l

a fr

b
,

rr

ff ,^ff

HH

FT
?

1
'(!)-

V"b

hriJ

^
t
l

mm
,, f

iJl

iin^rr

..rYf> rrfFr 'rffto


.
l

^f^

Sevcik.Op.ll.IX.

14

rv
6.

Pos.

6.

Pos Pos.

IP^T!
=3

g g

Jj
s

,J

J
i

JP>r> U P

JE3E

r J

i-i. A. rfrf fr
i

w f7
b

hf

ff f fg^
b

He

*e

(2)

b** *::

b.

m&Bt &*u
h*0

ze

^ft&r f r
F^

fffrr 7

r nffri
| YrVr^r
tt).

^
\>*m
h

b p fi g g

Li^

^^S

J
2 2

J
1

1?

Ji^

/J^ 1 E^Bg
b

p-p-

mgMSMa
^#
..b#*
.

t ^tf% %

SS'g fet

pff^f

frfrr.frf Efo.frrffFr
7.

rr'F'tt
-A_3>-

Pos.
Pos.

7. .
7.

dSM^
.

IV
(*

IV

d 1

te ?
, \>*Tx

4
1
1

#-"-!

1*

ggP

r F=fc

I
b.

V
i

*fif fr!rf
.

P,rypP

*
t

rfTfff, rfrf T

* b.-**e*

^PP

^d

b^* b-f
a
3

:l?

Hi

**bi

&>*.*.

rfr

Wfl^r
Wb,
i

Yfrrfi'
1.

Vr
B

ST*
iVrV^
i

JC3C

^j*b^

[\>p r i

^^iJij"i

no
Sevcik.Op.il. IX.

r I r i

J^r^r

^fjr

J5

m
*
2.

k L_b# b## rE E &-*-*& * f.rr^T tfTP T


; :

:=
:

:=:=* r E Et
: ;

iE*. * E rEx:
:
:

ftb*Ti EE^ftb

b.

fefe"
p~y

nr^

^ gfegu

^^
i

Vrb

?
tote
5.(9.)

^r^

esa.

The diminished triads: Die verminderten Dreikl'dnge: Les accords diminues:

N9 0. Follows

#
t

A coatinuei aveoleN?9. itinuer

Pos.

_A

f
^(D^^

W ~3E
1

;i^=3t

n
\ i

i
2

}fflrfljm
I-

iftam
4 4
i

i fTtfftf ^^

^ rL^rr/fTrr
r r r
i

5i

r*cf

rT

rJ*

i^Sf rffc/r-f

'

xJUri^r
^
(2)

ij

Sc?fcf tr tr tfr
i

i u Cr
r

r? ^^

11

j ]1?J
3.FOS.

f^
-J8
-,

f^rrrfj tf CjHJTj. jjgl


i

rJ.J
s~
3

II

_^

_,

^>rT*'

^*f*

f*
\

|^*1

#-3-i

It

&y*?: 4 a

ft

ft#i> ft*^
'm.

ft

-ft - mu'-^a
'

jp

rjffffrrrrricljd'

a).

^
4
1

U'lQLfl;

jjunrin ^

Sevcik, Op.ll.IX.

16

^^^^^Mi M W
O O
i.

mm
_^
V<\?

~#4

tt

1 f

r?

r f > r?^m ^m
r
i

M=zSt

S
1

4.

Pos.

Ql

3.

1 ~

1.

3 _

3_

4.

4.

Pos.

L7- *

cfltt.PAJ??]flp

g
# , *
I

2 -3--

^S

'

^"^ **^
a

a^

4 *

rv
2'

5. 5.
5.

Pos.
Lage. Pos.
i>
:

F7T3 ffl

n n

lt

^>^vrp
3 3

i p~r ,

p?

> r > r

^fc ry

m.

f rr p

#P
(D-

pf P

pJ

3
g^-,,

TN g l g

g
,
l

LjLgljU

fla^o a

^3

Sevcik, Op.

11.

K.

J7

fe

c: -

#-

fErrrrtfi^rtfrLrtr ^rrrrrr
i

(i)-

jtrr^rfrrr

rijf ^fjCr

^^^
2 2 3

^JTiJig

^s a am
7.POS.
7 :p^-

*P$

ff%=

J 7 g> *? ij j * ft' lO 10
tf

j' j
i 1

J
, I

CJ-J CJJ
jp^

LS
tt
tf

T 1
:

-a
4. 4

A *** * #*A a *P-*f--P-ff- #n ::*c::i::t - :=ffA-ffA:=A:r


I

AAA
3
3

^V eJ

(1)

4 4 4:
4.

w-

i$r

33-3-

^lJj.uu

iaru.ririfi'UfifLfLf CcrLCfLrLr'C
i

ffi^

A continuer avecleN9J.O.
Sevcik, Op.ll. IX.

18

m
*>)The

augmented triad

in various

keys in the 2nd _ 7th position

^Der ubermassige Dreiklang in verschiedenen Tonarten in der2. - 7.


Lage.
The augmented triad of A minor: q Der ubermassige Dreiklang in A moll: / L'accord augmente de La mineur

)L' accord

augmente en diverses

tonalites a

la,

2me_7me position.

s
2. Pos.

I
3
1

'*
ft

s
3

33a

2. Las-e.
2.

Pos.

= e33=:i; 3
ff

iil

'I.

3 J^ t rS p '*r
,ff

^g

11

i js-

tfiif j

r-Hrfrincrr

r rr

*r?ff r?riff*ff r?ff ifffirtf

nntrWrfi

fr*r
4.

^jij^ JJ ^ru^^rirrlrrr?r

i^J^ju

ii

Pos

5.

Pos. Pos.

Q
v9

5.

P? b b

i t^J> * 4) ,JJ4 J 5C it r" n r


-

*'N96.is to be taken before N9 3. in order to alternate with the diminished triad.

Sevcik,Op.U.IX.

is
1
I

r c

Wfr rrj M
i

L dam
|
\

^PBfel

*'NL6.istvor Nl2.vorzunehmen urn mit verminderten Dreiklang abzttwechseln.

*'Le N96.doit etre etudie avarit le N92.pour alterner avec l'accord diminue.

fe*

rp.r.fr

i*=
O
1 1

-r 3
u--'

'

&

H
xs

J9

,~~.

=ffi
6. Pos.
6*.

Snfrrfiff^rfr;^

Zagi?

6.

Pos.

Pos. 7.Zagg.7. 7.

Q
ffc -t*-

Pos

mM
Jt
i-

ft%

.I

se%
,W
3^

e*g
.

.*fi sgtefi _*fe


il

rffTF rffff fTff fl

Pte

* Jfefi:

trrrrr
N 2.
Follows.

A continuer aveeleN92.

The augmented triad of C minor Der iiberrnassige Dreiklarig in G .... G moll: 3a= ' L' accord augmente d' Ut mineur-. J
l.

Pos. 2. Lage. 2. Pos.


2.

-A

2
(*

<

i 1

2.

1 1

wm
^
i

^
c

g-7-ilJfa

*,

globa < bg *^b


i l

pj 1

i l

A^~

J
f r r fr r
i

fn^f rr
i

ir'T

ff r rf
i

il

rf r rf f r

fr'r fT^ii'rrrTrrr

'rrfTrr rir' rffffrr

r'r

^i
i

'

*,

"fl>n

>ft.

~^

.T>pr iTl^

177^ TTHJ'pfff

ff flp JTl =t

Sevcik, Op.ll.IX.

Si#pgiifet *
#

=-
'

* mi?
g
i

2pZ2ZZp2

ep

90-

rrf n rff f f
'

* ib r 1
J

ffTrr 'Trrffr r irtrW


i

(tt-

l""^

S
IS
%.

F^

g .frff

nPrJ? iCU njbJJJJ^i^T^' Tir? rrff^isrrfiV T


l l l
i

jj#?a
uu t>g

3_
4. Pos.
4. Pos.

Q
-gpL_y

1 te

# - y* 44 4 l
,
l

"?

fcr

kJT

CTJib
2

^^po
'

^
i

a ?? bo
2

3^ 'D*

ij^EE!

z>

zj

2^2 bg
r
l;
i

V f fr

B==ep^

iff ^

#^/

1
Pos. 5. Lage. 5. Pos.
5.

^Jfrff Lf^J>T
l

fff
i

<rFtr

X
.

A O v

2
JZS

vfl)

p3=

if

t^ 4 *

. -4-

^\r.^=^-

i
LJ
=

=-#
r

-4-4-4
Sevcik, Op. 11.

IX

000

^ mmim^km^ikmmm
* J
I

bJ *

J *

'

bJ *

'

* bJ

*J

'

*bV*

\>*
(

2\

0-

iJ

ipf rh*

rr

i^

r '^

^^

6. Pos.
6.

Pos.

3
?

3
l,

^
I

a:

'rf f

r r

ltf'r

tfr

CJ"

r~Cj'f
r: /
4.

J~3

iac

m
7.
fl 7. Zagv?. -/jL
7.

rr0 Ie&^
3

r*

}:

~* r?

j i*p'

fLff

1
1

tff
3

m ^^
3

Pos.

0:

Pos.

A<p^~-

l*^JVi
o
1

ryV l

\Y m Jyf
pi?f

FWp

fc

^u
1
'(1):

~jf

I.

^ff

|tf

^y tr r
eft

c^'t trf a

53
N9 3. Follows.
fo^f
Tv^r 3.

&*^ fti ffrfffiEfffffrr


i>*
lav

^
8.(4.)

i
\,\\
II

sx
j

Acontinuer aveoleN9?

Tho .augmented triad of F minor: . Der nbermassige Dreiklang in F moll; 3 [ L accord augmente de Fa mineur c

O
2. ,.

Pos.
pos.

f\

o
|

j|>..
r

2 J

lf

m
1

j i
i

i:

>

C_

'

ri

"[

'-'"L^

"^

rr'LL^i

Dfi

of
J.

lit

Lrr

sb;
3zat

iP^P^^PP^
Jr
i

i.Sprr'rgrrXJi
I

L.

i^rrrr^ferfg rUi'PljJj^L.i

Sevcik,Op.U.IX'.

22
s
3.
3,

3
i

3
i

3. 3.

Pos. Lage. Pos.

Q -^(*- i
w)

^k
2
3
3.

17

[V

_pgg
r

'*CP

CT

'

^
22
i

2_^

i FP
,1

i
jj
2
,

a
j

.i*

ji
Q.
-

^
r r r
l

pg
I | ,

r
2

''tD

^r&rrrrf r
l

r?^^)^

4.
-

Pos.

4 Lage 4. Pos

BS

I*

Jrf J_J,
r

J .JJ_J
I

h
i

,1
l

't

r
l

i''c;['EJ
1

W
m p
r

Lrr

j
i

iJV

crJ

uff
i

iu

Sjr

ills 'till
'

=f

fkl i^rYfff fnr rrf f rf r


b

iTxi fA

P^F

S
i '

B*

cir
4

rT

^r?^i^rrr?r i&r^^,i^
g
.
1

5.

Pos.

5.
5.

Lage.
Pos.

'.

s |
2 4

b
,

f pp
|

Vff fpf frf f f r yff rf 1 Prf frf ffY ffn


i

ffYfffiYffffffr tf^PP
r'irl'

LUj*

2
6.

^
:

3
:

3
:

_3
b
:

3
:

6. 6.

Pos. Lage. Pos.

A
3r a
*fl?

-b

s>-

r -V
;

st

p-f^P-

r fffff

mfffr fe i

Sevcik,Op.ll.IX.

f d-F

W^
"*

[[&

W
^
. fz
i

23

^
1

r rr

i^ r
r
7*:

r
i

C d r l rj j" CL i ci
i

i
^v

^
g
*T:
.

5#^#f
,

=qPk
*-a-

ifeis

* **

7.

Pos.

fl
(ft ?

7.

Pos.

*'

m smm
*.

* *

fff

r ffrff
,(!)-

tw fYffrf fftffr rrt


i

= =
1-

-1

>rJ

:jeeibzi?^:e

#
'

lT"

li

ncir

''exi-

==Epfe.

B
1
i

^ ^ w^ *-%
i

^^
l^f i

t.

rr

yffffF
9.(5.;

iggl
3

I.fW,gtf

N4. Follows. NZ4.

A continuer avec le N94.

The augmented triad of B minor: Her iiberm'dssige Dreiklangin moll


L' accord

augmente de Si mineur:

2.

Pos.

_A

i-i^-i?^1 2. Pos

-Hjiflgfi
O
1

'Up
3,

flr *
s

?fct&&Ut,kt
iIT

o o

'(!)_

cr"i

"<

T5"

3,

3.

2.

Lage. 3. Pos.
3.

J(

te

JjJ,J

i'hJJ

I
3,

r
t
l

g^ r
b
2

P^f a
3

M?i
###-rn

m&i
2 2

3.

J3J P3 jJiji^ii jjnn,ji


Sevcik.Op.il. IX.

01
o o

lp-ffi

M^

i
4. Pos. 4.

%
#-fl

ii

j
2
1.

m
2

'

gfc i

^i ^' i fe
f
i

ii

ffiju

Pos.

J J z

i
tig

j j

^ il

^ffi^
r
""!

i^

3^
-
r
o c
1

2_

Ml
g | ^itr r>
i
j

#""-#

g
jjji

rir^

ir^

irr

rr
i

ar

f^f

^-^>

lib* *A~-

*rriErHtrrn#

^ gs
it

p?
4
5.

^
i
O
3

ii
l

Pos. Pos.

Q
S9

*Nlfr

Pr*rf

5.

^^ frf^ rV'rO P
, P

*rO

I'F^

^
'
i

m
ii

'

cj

-r

fi

^^tf^Mpl
1

vcn j

^j- l>r*rrr Vr%^nn%.^g IJjjlH- J


ll

m.

-7

r ^ r ttf

-'

llf

^g^T*t5
#tete

^ ^r^^fc*
fflrrfTtfri

.%-^3

6. Pos.

6.Lo,ge.J
6. Pos.

I*

- o o

<fl>

II

ga

fca

LJ

uj

^^

Sevcik, Op.ll.IX.

25
3 3

o
'

trr
r

It-' r f^rrTrrfr

r*

yg
te
te"
i

teM

H
'-i#.
|

tffr ffnr

j fe

- m>

m
O

m
"gjn
7.

JTi j|7|

O
43

pl
|

HI hi^Vff j l!|fag|i gp
f
"S

tete

Bj--o *3"

Pos.

He 9
i-p

7.

Pos

f1
g

rf^
|

gfaji

ff r

*pf rf
|

| t^ffrf^
i

Select "gft^-sg

S ^^^^^^^
pPP
Krfa.fF

te

(t|itt|

*0Lm

i
2fe#

%^, pei *feft


10.

nrrfrm A

N 5.

Follows.

continuer aveo le N95.

The augmented triad of E minor:Her ubermassige Dreiklang in E moll: L' accord augmente do Mi mineur:

2 Pos
-

__

m r
I

ao

2.

Pos.

f
yP

1"^

r ft

j.aj.^4j^
:

a
LJ

m
J

^,

f*^''* * -,, -

fff

'fff^r ffi
i

"rTJ

U^p

gB

S^
l

1
'

^jfffrr'rrffr^

i
=
:

'ft

O U PiqjgPii

O=

^
jr

WF?
"-'g^
'ju

jtfJ

'jtJ

^ Jj-i

& -!^ *
1

&

*-"-#

i
^F

--#

mm

Sevcik, Op.U.IX.

26

I
i,

im

Fffl^

f =
i

(2

r-0-

I gcarriTr^cf^

pf

M
f f,

^
|gp

wm
i

*g

#
a.

m?j

Jj.i

rj^
'

M
3
:

I
1
i

3.

tot

'njj

|ppp

jy

'

jj^l^

s
,^2
I ,

W
2-^a
|

^PjJJj

^Jj M jfe

L jJ jJ
i

T=?
::^tf

J J'i

J ,-JJr

cT" err
I

U * WcTcf
2

=7*
3.

^y
3

vJXTJJJTJ

P?

feS
cr
-

fe5
tt"^

if

=rf
2
1

mm m

zzz

gr

'

J
r

f
te

i
L
4
,i4

tfr. rr r ^ #rrr L
i

'X&-

4-4

tele

i 4^
it.

-je

'(!)-

r Miff fn*

r
i

i>

relPM

gi
TTT3J
i

Jj iiTflte i
*i

iP^

f^i 3r
Sevcik,Op.ll.IX.

IS ^.c *yI

-&

=* 1 _ "*.

SH

yiH

tee

27

sT frrf?/r
1

fr* rr rr

(i).

*etes CfrJi^flji^r'g ig
fejfi
*i

#^
Kfi

tt

^!

4 *

4, *i

4_

4, *.

>!

4.

Pos.
Pos.

4.

S f f ffr iffr
*te
i

fff r^

m
i

.<^gb^ in^Ai

M
1
f
1

1 03

44

O
4

P
ffl
= f<
^SS=P

clLr cO-r

eJTjU'

^
#

o $

J i F

[l^dir'r^g
-r^tW
"ST

^^
#-"!

^&
-*
2

0-*-*

^i

P alrV -1

r*

rtt r

ti

fff*

r T

i?fTr

nuffiff f

f ifff

rnr^ Tf^ hr^


i

ff fr

11

i
11

rf IT

f r g

if

iWr

rrr

^ s###
Si I

HT3J

=*

m$0m
Sevcik.Op.il. IX.

28
5. 5.
5.

Pos. Lage. Pos.

jt ^9

i*

^
.r.,^1
4

2_0

e
O
3.

^3E
ri rufi
irft

is

i
2

mm
^f

*
o

iiiis-

IK

CJ

SI ii

I*--*

j jJintr r iffii*fe j|fg


a

J
4 4
4
3

W OT
4 4

E^^
^"f
4
4i

J^
l

^Ipff

gp
i

gP
pit

e_8

ffr,
-

r r

fi

ffC ffi
-**

r r

fri f> iff T


rtr T

te

#e

fe* /Jfe e te rrf fr iff f f frrfi f ff.fr iff


i i

cfrP

Ir
rfe . d*
i
I

rr^ir r.ffr
f

^p

-*

I g

Ji

,- -

-^.

r-ir

-,<>? p ^rfopg

=fe~pfff iVj 4

r^

ii

r-n

Efe.
'(D-

* ^
.

p^P
m l^
1

p^
te
i__
l
1 1

ei

^ilff^QVr
1

J^^
'j

6.

Pos.

ff.ia^-e.^tro:
6. Pos.

<fP

I rT

.te

.ff f

,FfT Fff
,

tt*,,:z
i

fr-P ,fr

v^ p#:s Tfs~= aifflili


1

Oi
!&

QJ

1(

y
~
~

iff

1.

3"

a>

33.
L.

l*E
2-

^~*
I

ii

[Jr V

^ts
r

^ ppM^p
<i&
3
1

<r

35

*==s=

W"

itei

[W
I

^W
p
jj

Tr? P

r r

Sevcik,Op.U.IX.

VI

4^-4

i=;=;lte

^
a

^"4

3-s*

29

eg fife^

Ml

sfefif ft
:

*-

'

rftffo

~^lt#e

p
fee
7.
-

mi

^q ggS

iTr
tpg

s=

ig
I

fete

ft

s
TT

j t 1= fff .HjJ gi

w m

f
i

f i^rf r

g
"
ii
'

fee fefe*e

fS
m

.r/frCrrri"'
Vp i

Pos.
-

*|

*i*

7 LaZe fk
7.

pos.

C v9

effe/iefte ffTf ffT,p rfr =fr rr=== u sT L O 3


|
I

itr^rif
2
2
ati:

^
f
i

ffef pp

s
PP
fT
i

w a^
~:

gg^l g^=?
j

r ir t

r:n

s
i i
fee

^
fff f r
-s

1
ir
i

^3
i

firr g rrf
i

*Ti-

rf ffffr f
f

tel

file
-^te'i

*e eee>
*

rT-fff
-'(d-

iPfr r
,

eiil * ^feei
i

rT""

"frig^^
te

f
JftL

>

filfT

if tf=&$

gB
frfff

niqrrriri,!^
7
3^
rr "ffff ^! ' J p Lr r
2a

fefe*

cOJ

IeeI

'

"

rftfffff.ffFffFr.ftr
Sevxik, Op.il. IX.

.
|

r
1

N JJ. Follows.

II

A continuer avecIeN?!!.

?<>& nzu.

TT

30

11.

The augmenled triad of D minor: g Dcr uberm'dssige Dreiklang in D moll: /L L'accord augmeate de Re mineur: jfj
4=

ft} 8

"

2.

Pos. _t\

ifc

2.

Pos.

W) g

f rl

Pff
|

Sfe

.
,

r ff

* rPi

1 JSJ.J3^s

p*pt
O

0/

3G
o o

- r
o

r
o

Ko

~w-

fe=Ir m
# w
2

-=-i'

iJJt

.fel

2 2

Zu4

* 4

1 1

Y
\

1*
1
i

Ff f

&,

1
1

-^

J
(1)

}[L^
LI'

r
i

^f/r
2-

rn
i

,i

g|j||

rp-l

iJ^-fiif

3?

53 a gg
a)

-*

ggi
r

(i).

g ^ y^
*fe
o o
O
i

^r
i

r
r

iflrT

g
4;

jp
4=

J]^L
* 4

3.

Pos.

3.io^.3t=o: <9 3. Pos.

fCt rTrr
O O

^
nt

,-fcs #r#
i i

rTfr ffiTfrffrrf
H^
S-

teN^e #&3i
i,

^
4 4 4
2

1
o

ife#

pz^-g

w.
o

F O

a~

i nrpi;
O
1

3
O

o
-*-^V

y m

\\

Se^cik,Op.U.rX.

31

^^ >
rs
k

3E

SK
Jjr

jJ 'L'i

^
o b

iii
o

rcfL

^^g
O
4

4 jtfrrr r
i

.iffft^

.1

rii^l'litrJ

4.

Pos.

4. Pos.

iW"9~2

'

I I

|l

>

||

I '

p
-1
.

rlr\^\lT&\&i>\f[frrH # ffppff
.
i

- m

pip
4
3
,
|

.id.

^S
4
i , I | ,

3
i

..

MfJJ jJtJ ijrt


i

^ rm WSjmi^ ea
r

I
3
i

3,

4 4 4
i i

8
i x
i
,

,3
i

. ]

jJ'il iJiJ

jJfej

i^

o o

jJltMlCTjIJJ

iss
rff
,
,

JflrfinW
Tf fr> rff
,

J
i

?^g

^rr^ v

rr

r ffr Fr
l

fi

iPffff ftr

jrriff ifrr iifrfe


Sevcik,Op.li.IX.

tf*

nrrnjifflt^ ^

32

itf
O

ofay,

m Pi
if

i
i

H^r

*t?
ir j

^A ^ s
1 (2.

rrr ffTf ifFTrffrr iQ ri r

rr r

1 1

A
~r

Pos. 5.Lage. 5. Pos.


5.

Jf

p
^1

a^M^M
^
-I

I-

fr iPTf trr.rf
i
.-,

*V

fts

-1

^J

-O

o-

yjj3j

m
r

^
1

fff
o

-fife/^*
o

BP
o

13
lo

2 2

s ^ *s
c

iioj

o
4,

O
|

3
-.3
I
I

2
I I

J J
r
i

11

JttHttJfll.Trl^

d!CD
2
o

dXl

o 4

."
g

Ff o o

^
^

3$pm
T

cii/^

j j r

irxip
tt

&
=fc_

B
#
i i

r f ifffr?
=*_

rrf fftr? r ff iffffr


"^.
-'

*^_

~^m

p-

#
*
.

Ife^i
Pff

SSffl te t%l% Se

feU

n^tefie

tte

i
3Z

lrrr fr

fe
^
*

fe

m
6. Pos. 6.Lage.

sgs ^^=

rt

Jf

<*

fF TTr
i

TfF Tff frrffrffir*


, i

6.

Pos

V ^
i

;::=

Sevcik,Op.ll.IX.

33

fj

fr

=m fc^iiiar^
*r
i

r.

m
pi^
22

o
2 2

ijj.iirj. ii iJmjjniJijpj^ijji 3" h^-r

^^ ^

a.

Vu\\* m^rn^m

'-infr

*7'

ft

p J

mm
o
|_1
7.

fepf^.
i

^j W
tee

m nT ffffriffn uVii
i

-"*

2
42

Pos.

:te|

i
rf
i

m^
r
O
1

Effe.fjTft ,Mil ift # fPT *fff rPfrff


=

f j* g^g if
r
3

M
w

\f#

Pr
'4

fTffrff
i

M
o

^
F
Sevcik.Op.il. IX.

nrnrij
4

W=r= ^= ^ =f^
1 1

=}5e

e
4 4

1
::<^

_
i

gipig

iJitp r
i

rrfup-i

-irnu fpi
Jpg

34
V,

*^
:==;=

:=:e:3|

fe

te~:=

|i|

pEpfe jfi|=| | fit

rfs^

li
i

rr

i^rrTf r

i^
i

*~*~3"
rs

^TyCp

gs

a*

frrr.iri^r^^rrrrr rffPf^ffWi^fr
12.
The augmented triad of G minor: Der ilberm'dssige Dreiklang in G moll: L' accord augmente de Sol mineur:
<

^
1

%
2 2

a. srva.

_'\

w
|

2 *

2 *

2
,

2,
I

I
I

lil

=i

in

t-

O
n

2 2

JWJiJWi
2
~2

^j C^ SO^ tm
J
i
' \

MjiOTJJjM^
T~
I

2-

fr>

,'f

r>

p rfe
i

g=pt

TTnVr

^^ ^^
~r^s
i

m ^ ^s
3^p-r- r>
'
1

I-

8.

22:

iS

iW
I
3.

K.

'

Uj-__*j>^

^^ P

|J

'J

E#~T3 H *-

'

Sevcik, Op.ll.

35

rfi g f? *rr

I
.

V0Vlm-0 0- ^-0i.

*rriCffrbJ3 3ii^
l

3.P0S. 3. Lage. 3.Pos.

A
Jf
ii

iS'

J
p

1
., 1

U
11

H
4 O

J^JJUUJ
Q30
4

111

O,

vs* *
4
3
1

lr~

2
fc

O
i*

4-

P
fr=='

'

mJZ7

fc
*t7-

fl^jr

is5#-rl te^ P ?
4

4
:

4 4-

-a^fH.i^n^"^,,^ EPAOTJ? JJ1J3J3J "r^inl^i^^ grf ^ ^


J
1...

is:
(D-

!--#

JJ

j^i jaj

Viho.

hm
^
r
i

irr?

-f- |d

1*

te^#

tM
T,

*
1

fl

jji^'.'

1^
,

eft
4.

rlA

iftrr

grr

jg ^
r

"

j^

^
*~^

ffrr
_0

^
O ^" o
1

jui
* o

Pos.

I g=3 W+^
r^

s To
J r
i

hJ-
o

ffi^
d
o

tr
1

Sevcik, Op.ll.IX.

R^P

Jl

Sid

ffcW

i^rrirTy

frj^VJ =f

36

-^m

I r
T

m
>
O

Jba
'
I l

b
lt

f f1Tf l'^ililf

f
i

'J

j
-r
1

S^
1

7
o

T
o

r i
P
o

-rf 4 O

*^
f
o
J

*^1
I

1^3

<iJvp*
1

4 4

4 4

TEft if F j
^
II

e fr

m
'

U^e UJ
f

m
I

nr f "wrffr rrrri
"
-i

II

al

3n^i PSj
[I

>J
i

fc
i

^Jiii>r
^ r
b#

teF-=*

&

rriffl^r
r

*-,

^p

fx C rV yr
i

^
r

itg^ Mr rf
b

Tffr
|

irrfiffff^

*b:

Efik

iiffftf

f f
i

4#

b f ea

eb.

fr

^feit

Tff
"F

ifa

bi

.Tit

rSta
SB

b,

L^^J

Irfr-rf
4=-h

^_

fcg=*

^ m m
o

-1-7>TP

f\,.

^
l

ntflJ

-u

l*l gt
i

a*
5.

&*
4
1

,^Jj^ri^ rrrErrittrrgrrigr r rr^

5. 5.

Pos. Za.gu

/f

Pos

bi-lJbJ
o

i=*

1 2,22

o _-

os

O o

i-j^ijr^iL.Ti^.iBteiJ
3
1
1
\

off ffi

^Si ue
r*
-

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Sevcik,Op.ll.IX.

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Sevcik.Op.ll.IX.

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40

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42

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i
|

Abbreviations and Signs.


Designation of the Length of the

Abkiirzungen und Zeichen.


Bezeichnung der Bogenldnge durch
Bruchzahlen.
j

Abreviations

et

Signes.

Division de l'archet au moyen de


fractions.

Bow by means
l

of fractions:

Whole Bow.
Half Bow.
First Half.

Ganzer Sogen.

Tout l'archet.

5
i.

|
|"

Halber Bogen.
Erste
H'dlfte.

Demi- archet.
Premiere moitie.
Seconde moitie.

Second

Half.

'
\

Zweite

H'dlfte.

One Third.

|
s'

Ein Drittel

den Bogens.

Un

tiers de l'archet.

|
g
'

Two

Thirds.

Zwei

Drittel den Bogens.

Deux

tiers de l'archet.
tiers.

Firfct Third.

Erstes Drittel.

Premier

Second Third.
Third Third.

3
3. 3
l

Zweites Drittel.
Drittes Drittel.

Deuxieme

tiers.

Troisieme tiers.

One Quarter.
Three Quarters.

Bin

Viertel den Bogens.

Un quart

de l'archet.

\
1-

^
l. 1-

Drei Viertel den Bogens.


3.
3. 4.

Trois quarts de l'archet.


'

4 4 f 4 4

||-

pi rs t ' Second," Third, Fourth ' '

4 4

4 4

ErS fes

z we ifes> drittes, vier,

I' 3. 3
'

|"

Quarter.

tes Viertel des

Bogens.
4

Premier, deuxieme, troisieme, quatrieme quart.


et

^- Second and Third Quarters.

2^p

Zweites und drittes Viertel.


Herunterstrich

Deuxieme
Tirez

troisieme quart.

H
V

Down-bow.
Up-bow.
1
)

H
V

n
J
)

Hinaufstrich

Poussez. 1)

Broad Bow.
Short, detached (staccato),

(martele)
ii

Breit gestossen (gezogen).


Abgeslossen, ge/ta?nmert (martele
staccato).

Largement.
Bref, martele (staccato)

hammered
"
(sautille;
)

Springing, bounding,
spiccato; saltato).

Springend, geworfen (sautille;


spiccato).

"

Sautille' (spiccato).

Lift Bow.

Bogen neben.
Kunstpause
(Luftpause) 3)

Levez l'archet.

/
I

Kunstpause

(Luftpause) s)

/
I

Kunstpause (Luftpause) 2)
Premiere corde, Mi.

First String, E.

Brste Saite, E.

H
Ed

Second String, A.

Zweite

Saite, A.

H
HI
rV.

Deuxieme

corde, La.

Third String, D.
Fourth String,
G. 3 )

DZ Dritte Saite, D. IV Vterte


o
Saite, G. 3 )

Troisieme corde, Re.

IV
o

Quatrieme corde,
Corde a vide.
le

Sol. 3 )

Open String.
the E-string.

Leere Saite.

Sul E,_on
l

Sul E,
l

Auf der E-Saite.


auf weir

Sul Mi,_ Sur


l

mi.

First Finger remains on string.

Liege nlassen des ersten Fi?tgers.


Liegenlassen des Fingers

Retenez

le
le

premier doigt sur la corde.


doigt indique par
le

The

little

finger

is to

hook indicates which remain on string.


M.
Fr.

Retenez
crochet.

cnen das Hakchen zeigt. Milte des Bogens.


M.
Fr.

M.
Fr.

Middle of the Bow.

Milieu de l'archet.

At the Nut.

Am
An

Frosch.
der Spitze.

Au A

talon de l'archet.

Sp. At the Point.

Sp.

Sp.

la pointe de l'archet.

1)

2
)

Unless otherwise indicated, the first measure begins at the nut. Lift Bow and make a brief rest. No practising should be done on strings
not true in the fifths.

*)

3
3

)
)

Ohne Bezeichnung de/' Bic/ttung 6eglnnt der Anfangstakt itntner an? Frosch. Bogen heden und knrze Pause machen.

*)

Faute d'indication speciale on commence la premiere mesure au talon.

3) Levez l'archet en faisant


3
)

un bref

silence.

Auf nicht quintenreinen Saiten soil nicht


geuat wet'den.

On

ne doit jouer que sur des cordes absolujusles.

ment

CONTENTS OF SCHOOL OF INTONATION


By

OTAKAR
OPUS

SEVCIK
II

CLASSIFICATION OF THE SUBJECT-MATTER.


Part I
" "
"

EINTEILUNG DES LEHRSTOFFES


Abttilung I
"

ARRANGEMENT DES
MATIERES.
Partie I

Ila lib 1 III

Introduction to the 1st Position. 1st Position. 1st Position. qi * Supplementary*


"I

Ha
lib 1 III

"

Einfiihrung Lage. Lage.


1. 1. 1.
1

in die

erste Lage.

-Introduction a la premiere position.

"

IV

-1st 1st

Position. Position.

"

Nebenbei

Ila

IF

Lage. 1. Lage.

vorzunehmen*
I

IW
III

*Part

Major rhythmic Scales from Parts Ila and lib. Pieces (1st position, Grade I) with piano. 2
"

VThe

"Abt. F Die rhythmisierten DurTonleitern aus Abt. Ila und lib. Vortragsstiicke ( 1. Lage, Stufe I) mil Klavier. 2

IV

-Ire Position. ~,lre l os on Ire Position. Ire Position.

Matieres
\
|

Supplementaii-pc ta r
'

*Partie

V Les Gammes majeures rythmiques des Parties Ila et Compositions (Ire posilib.

"

Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin to
the 29 Duettinos

Einfiihrung

in

die

2.-7.

Lage.

Introduction
sition.

tion,

Degre

I) avec piano. 2 a la 2me-7me

Dazu: Abt.

from Parts
} J

I,

Ila

and
"
"

lib.

sovjie die Fiolinstimme zu den 29 Duettinen aus Abt. I, Ila und lib.

lib, zvjeite

III

und IF,

Matieres

Posupplemen-

Parties lib, III et IV; aussi le second violon des 29 Duettini des Parties I, Ila et
taires:

Via VIb

2d-7th 2d-7th
2d-7th

lib.

Position. Position.

RuDolementarvt auPPlementaryT
in the 2d-

Via VIb

f40 Bohemian Melodies 7th position.


"

2.-7. Lage. \ -2.-7. Lage. \ t40 bohmische 2.-7' Lage.

n + ZWt
Weisen
in

der

Via VIb

-2me-7me -2me-7me

Position.],,

**#*"

Position.]

Sli

Vie VII

Position.

40

|40 Melodies bohemiennes dans

^^

n'

Bohemian

"

Vic VII

2.-7.

"

Supplementary: Parts Via and VIb. 2d-7th Position. Supplementary: Part XII (Introduction to ShiftMelodies.

sen.

Lage. 40 bohmische WeiDazu: Abt. Via und VIb.

Vic
VII
VIII

2me-7me
2me-7me

la

2me-7me

position. Position. 40 Melodies

bohemiennes.

2.-7. Lage.D azu: Abt. XII {Einfiihrung in den Lagenivechset).

Matieres supple mentaires: Parties Via et VIb.


Position.

Matieres

ing).
" " " "

VIII

IX

X
XI

2d-7th Position. 2d-7th Position.] 2d-7th Position. 2d-7th Position.


Part

VIII

-^2.-7.

Lage.

Supplementary

IX

X
XI

2d violin to the 40 Bohemian Melodies (Part Vie). W. A. Mozart, Sonatas for violin and piano, No. 4, 7, and others.

XIIThe

2.-7. Lage. 2.-7. Lage. 2.-7. Lage.

X
Dazu

IX

XI

"

XII s

2d-7th

Position. Introduction to Shifting. Supplementary: Sonatas of W. A. Mozart, Nos. 4, 7, and others.

%Abt. XII Die zweite Violinstimme aus den 40 bohmischen Weisen (Abt. FIc).W. A. Mozart, Sonaten *fiir Violine u. Klavier, Nr. 4, 7, u. a.

2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. Partie XII Le second violon,
}
j>

Partie XII Supplementaires: (Introduction au demanche).

taires.

des 40 Melodies bohemiennes (Partie Vic). W. A. Mozart, Sonates pour violon et piano,

XII 3

2me-7me
tion

Nos.

4, 7, etc.

Position.

Introduc

XII'

-2.-7.

"

XIII 4

Transitional
ing

Lage. Einfiihrung in den Lagenivechsel. Dazu Sonaten von W. A. Mozart, Nr. 4, 7, u. a.


:

Scales in a Variety of Forms through 3 Octaves. Supplementary: Concert-studies:

Diatonic
III.

Tone used

in Shift-

XIII 4

Lagenverbindungston.
Form durch

Diatonische Tonleitern in verschiedener


3 Ohtaven. Dazu Konzertstudien: Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstiicke aus der 3."

XIII 4

Rode, Concerto No. 6; Viotti, Concerto No. 23; Pieces from

Grade
"

Stufe.

XIV

Intonation of Double Stops.


cert-studies Grades III

Supplementary: Continuation of Con-

XIV

Intonieren

XIV
der
Doppelgriffe.

and
and IV.

Pieces

from
1

Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jedermann die gleichen sind, konnen die rhythmischen Uebungen aus Abt. Ila und lib selbstdndig vorgenommen iverden, ohne mit den gleichlauf enden Uebungen fiir die linke Hand gleichen Schriit zu halten. In diesem Falle jedoch sind diese Bo-

Matieres supplementaires: W. A. MoSonates pour violon et piano, Nos. 4, 7, etc. Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires t u d e s de Concert: Rode, Concert No. 6; Viotti, Concert No. 23; compositions du degre III. Intonation des doubles cordes. Matieres supplementaires: Continuation des fitudes de Concert et compositions des degres III
zart,
:

au

demanche.

et
1

IV

Because the sense of rhythm varies in individuals, the exercises in Parts Ila and lib may be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
1

Da

Parts.

importance for the beginner to with piano accompaniment. The difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intonation, proper crescendos and decrescendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompaniment. 8 To be studied concurrently with Parts Via, VIb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, X and XI.
-

It is of great

geniibungen bei den folgenden Abteilungen nachzuholen.


2

n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ila et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes.

Le sens du rythme

play

frequently

Haufges Spielen mit Klavier

ist

fiir

den An-

fdnger von grbsster Wichtigkeit. Die Klangverschiedenheit zvjischen Geige und Klavier, die vollen Harmonien des Stiickes, die feine Niiancierung in der begleitenden Klavierstimme leiten und drdngen
reinen Intonieren, zum Anund Abschivachen, zum Akzentuieren der Tone. Er nvird geradezu gezvjungen den Ton schon zu bilden und das Musikstiick geschmacivoll
schvjellen

2 Pour le commencant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intona-

den Anfdnger zum

vorzutragen. Deshalb kann man schon neben Abt. entsprechend leichtere kleine Stiicke mit Klavier vornehmen.

II IV
3

tion juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tous ces details le forcent a cultiver une belle sonorite Pour et a interpreter les oeuvres avec gout. cela il peut deja commencer l'etude de pieces faciles avec piano conjointement aux exercices des Parties II-IV.
3 A etudier conjointement aux Parties Via, VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII IX, X, XI.

Neben Abt. Via, Fib, Vie und VII vorzuNeben Abt.


Fill, IX,

nehmen.
4

und XI vorzunehmen.

On an Harmonic
for

Basis

in

SV PARTS
by

OP. 11.

Contents of

INTERMEDIATE STUDIES
FROM THE 2nd TO THE
7th

Price Each Part

Book III*

POSITION
:

$ L75

PART

VII:

CHROMATIC SHIFTING

on

PART X

one and on two Strings, with Controlling Open String. The Augmented Second. Harmonic Minor Scales, with Bowing-Exercises for Detache,Legato, Staccato and Spiccato.

PART

VIII: CHORDS: Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for BowPreparation of the Double-Stop of ing. the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The Bro/cen Triad in various Keys, with Changes of Bowing. DISSONANT CHORDS: The Diminished Triad, with Enharmonic Changes, in Single Tones and Double-Stops.

CONSONANT

Arpeggios through the Positions, with various kinds of Bowing. The Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
all

enth in all Keys. inant Seventh in Circle of Fifths in

The Chord of the Dominant SevThe Chord of the Dom-

PART

XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Controlling

Open

String.

The same on two

Strings.

PART

Diminished Triad continued. The Augmented Triad in Single Tones and Double Stops, with Exercises for Fingering and Bowing.

IX:

The

Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh,the Minor Third and the Major Sixth, with a ControllExercises for Shifting ing Open String. Positions and Finger-Exercises employing different Combinations of Stops for the Chord of the Diminished Seventh. Stretch-

ing of Fingers.

Copyright Property of the Publisher

HARMS,
62

Incorporated
NEW YORK
LONDON, ENGLAND

WEST

45th STREET,

CHAPPELL

&. CO., Ltd.,

Printed in C. S. A.

Copyright, 1922, by

Harms

Inc.

PART
in the

X.

ABTEILUNG

X.

PARTIE
a la 2me-7rne

X.

Dissonant Chords

Dissonierende Akkorde
in der 2,-7. Lage.
Inhalt.

Accords dissonants
Position.

2nd -7th Position.


Contents.

Table des Matieres.

Der Domimnt-Septimenakkord durch L'accord de septieme de dominante Tonarten in der 2.-7. Lage. Der Do. dans tous les tons a la 2me -7me posiThe Chord of the Dominant Seventh in minant-Septimenakkord in Arpeggien tion. L'accord de septiemede dominante arpeggios through the Circle of Fifths durch den Quintenkreis in alien Lagen, en arpeges, parcourant l'echelle des in all Positions, with various kinds of mit Strichartenduintes dans toutesles positions, avec Bowing. Der verminderte Septimenakkord in variantes dii coup d'archet. The Chord of the Diminished Seventh verschiedenen Tonarten in der 2.-7. Lage L'accord de septieme diminuee en diin various Keysin the 2d-7th Position, in einzelnen Tonen und Dpppelgriffen vers tons h la 2me-7me position en corin single tones and in double-stops, with mit Finger-und Bogeniibungen. des simples et en doubles cordes, avec exfinger-and bowing-exercises. ercices pour les doigts et pour le coup,
through
all

The Chord of the Dominant Seventh


Keys
in the 3d-7th Position.

alle

1.

d'archet.

The Chord of the Dominant Seventh


through
all

Der Dominant-Septimenakkord durch


alle

keys

in the

2nd Position

Tonarten in der 2- Lage.

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2me

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Op. 11-X

2(9'
The Chord of the Dominant Seventh
Der Dominant-Septimenakkord
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in

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in the

3rd Position.

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10

3
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11-

14

4(ii)
The Chord of the Dominant Seventh
in the

Der Dominant-Se'ptimenakkord
der
5.

in la

L'accord de septieme de dominante a

5th Position.

Lage.

5me

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18

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as) Der Dominant-Septime?iakkord


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in

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la

6th Position-

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22

6
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mm
P
IK*

rfrr rfftff

mm f##^rfffrn,.r
(D-

rfftf !fff
|

ttETtJ-1

Sevdik, Op. ll-X

26

7
circle

The chord of the dominant seventh


in arpeggios through the
fifths, in the 1st- 8th

of

Arpeggierter Dominant-Septimenakkord (lurch den Quintenkreis in der 18.

L'accord de septieme de dcminante

en arpfeges parcourant
quintes, a

l'echelle

des

position,

with

Lage, mit Stticharten.

lalre-8me

position,

avee

various kinds of bowing.


,1

variantes du coup d'archet. M.


spiecato

V.-ii i

__,

'

l.Pos.
i.pos.

Jff

A
a

n^ffe vJfWhr pfegjijj I'rrrrfrnw^jj jcnm*

mim
o
-e>-

2.Pos.

&#* 2.POS

^^^mw^uiim nij^ w
*M
i

ffi

i aff'fl^jjjqir

r^^
nrfi
1

jT

i'

^jjjTTifrtfW'r i.fpij

tjjj

nqiTi

SevJik, Op.

11

-X

3-Pos. 3-Lage. 3-Pos.

^
^^
H.

*& J flrc mgrft^


17

37

*e

iffiTr^ffl

^Wnrfi^

b*

a*

*t*

4. 4.

PosPos.

VA

4-Lage-

!Vrf^jTn

rr

W^
i

j^rriTirrEr

Pgpp^i
i
o
-o-

w
f

MJflJP flf
i

f%

Bp]

dlf itQlr^ s ^*^

| IHrr^rrlf

. f flf f ll.
i

frfri^ jjJJrrCTW^

5. Pos. 5.Lae. 5. Pos.

frr

to jffli rrf ifft r^

jm,
,

rrf

frft^ ^sgj
i

/f^.i,jq-n. r rrfff^r
,

efe
ffff

TOtcOr
i

mfi
Cj

.,
l

p^fri
te

^ ^,^rrrf ^r^ ^
i

pnirrf|frr"i^

LlJj

*!

Sevcik, Op. 11-X

*m> b, it yfffr ^nrn Jfttfl


i

fe

frff

Wk jm
^V
lis

ir

rfr
#e

7.

Pos.

7.

Pol.

p a

'm

msmmm
i

mm gp m
FWa? ^p

frtTiN
&.

j rffP PFTr
l>*itteu
:

^g
teh

rfff

g-

^ to* .,^ hi ^P
i

sp

#&
frmr

up
:--

iit
tx.

te*

feH^IP f ffi fr
f
(K o gP a

iir,

^P
^

rrf F

^m

rif f

8.

Pos.

*)8.Lage. ) R Pos.
bl

fttr,,,- rf^ frff


l

^g

^g

rr Cff

fifWr'r ^Tf^

ftft

"pttfte

rffSsu.

*'

With

the fingering of the 1st position.

Avec

le

doigte de la Ire position.

Sevcik, Op. 11-X

39

8.
The chord
of the dominant seventh

in arpeggios through the circle of fifths, in the lst-7th position, in abridged form.

Arpeggiettet Dominant'-Septimenakkotd dutch den Quintenkteis in det 17. Lage in verkiirztet Form.

L'accord de septieme de dominante

en arpeges parcourant l'echelle des quintes a lalre-7me position en

forme abregee.

1.

Pos.

l.Lage. l.Pos

rrrr/rn ii T^ *~^?

rr

J^U7> se

Vp-

2. Pos. 2. Lage

2.Pos.

^^
S.Pns.
3.Ltigti.
3.

iJ^C ^r^*
'

frto ^

^
i

j7

^j tf t&r^
i

&-f>fe-R J g)

"

Pos.

If

-*-

*~~

TtPej^r

*f
-'

pi'f
]
'

JT"r J

'

#_*J^

t
' 1 |

LI

j!tC
!

V-TO
,

i>A &tef ^ij3iJ^


l ' l
l |

rr-i.nn.^f rif ftlfii,JTT-

t(

M
|

Pf

ijOTi
Sevcik, Op. 11-X

rrirrnji u uj,i'Li^ir!Li hfi*


l

Mjiii-rr J

ii

T :t

$-

j^r'rtf frYriflTliEffiJr'
i

mur^N ^^

5.

Pos.

%
5.

Lage.
Pos.

W
(fo

fCrr

'^

i.ffl'

m
Jg

bft^
i

T^'f-TO

^j

^
6. Pos. e.Lage. 6. Pos.

te f f f ftf
i

fr
i

ife=K

f^ft

^^T^fe m^

fib

TrTf I'Pfrr.^

#rf

*fefe

7.

7. Pos. I.Lage. Pos.

~(

fa vy

M [IIPcID rffMTfr LiiTwr

iii

tw Svfe

S ^te i^^P#
Sevcik, Op. 11-X

^^

m#

fr

te^aa
l

^Ife., yg e
r-

Cxj. Lcrr
i

iu r

9 "(2)
Dissonant chords. The chord of the diminished
enth in the 2nd- 7th position.
sev-

31

Dissonierende Akkorde. Der verminderte Septimenakkord


der 2.-7. Lage. the diminished seventh:

Accords dissonants.
in

L'accord de septieme diminuee a la

2me-7me

position.

The chord of

Der verminderte Septimenakkord: L'accord de septieme diminue'e:


2.POS.
22.

P
P

|
j}

Lage.
POS.

;wf
3

d si 7^2
1

'

u^ijjj ^JiJAjjjWJ JiUi i


i

^
'J

---a- - J
l

3dj

HJ

J!? *

^P ^^JJl

j^ ^zBJ

J *

pjI

*) No. 9 is to be taken before No. 2 so as to alternate with the chord of the dominant seventh.

*) JVo.

ist

vor No.

uorzune/onen ion

/nit cle/n

*LeXo. 9 devrait

Dominant-Septimenakkord abzuweehscln.

etre etadie' avant le No.3 pour alterner avgc l'accord de septieme de dominante.

Sevcik,Op.

11-

33
l
l

Pos. S.Lage.
3.
3.

Pos

(fo

^^
3
*-

&
I**

ji*

if (K^ *

s itK

*+y+**

=[* sr* t*

$
*

if

*=*

^ P^g
i

*==#

i'jl^
>r3

^J
p

'

frl

*-=

nis

7?

OT3 J7T3 1*

TO
i i

i^ i J jJ^

^
o

mi't
F

McW:

i^-urij

& ^p
i
I

rT^
o
1

J^rJ^ a
o
'

'

(5

l-

13

W-

m
4
i

>LC
v.p

0-0-

r^nr^ujcr f

m^

*r

i-T r
tf

-nr*

* i 4 ^ijJJe^j 1*

fflFfflfurr-frrrrT

grpgrf

^^* u
Sevcik, Op.

W*

irtF -9-0-

'

a-0-

&

U-X

33
i

4.Pos.
.iflg-e. 4. Pos.
ffls

-*

ri

<sf

f =j=f

[,|

ft

^
i

>

SeI

1.

f f
I

11
1

n"
o
i

r r
i

i
I

tyi
1
I
'

rTV iTrfrrrirf rfofffffl > P U


i

w.

,1
tJ

rr
T^

rtf
1
1

>
3

cr^ff >
P
t
,

frf*ff >
4 1

:s -

^f^
L
'

gg

3-r"g

go

i
i

1.

ifi
/i

fry
j
3 . 1

t&M ffm at
1

\A

^^
S
1

IP

r #

^BP j* >

^^
j?

f77p
7

f>

rP7>

^ f>
^s

rTTT

fH

^
ir?
f

ftlffffff

yMffrtc
t*te :ai

ir?iif J

Trr ^

1
Sevcik, Op. 11-X

II

'1

Up

jg

=P=

f^jjj
*

34

5.Pos. 5-Lage5. POS-

l"/JV
j^i^j

&

1
ij

yg:

1^
*

J^JCTP^iitfJjJlfjTfN ^ ^? c/
'
-

^g

^zf

jn ^ =ncz =

*p.p

,*

tee
p

:z

^JBUE

tef

,ffflfeg|
i.

si
1
vM

*^

fisj

.th-

ca &
i
I

p p

aa

<

<Q

p>

frV I

gf f #P U
I

y *rf ill f frrN^i


i
I

.1

Si
Sevclk, Op. 11-

P
==

fc;frt

eJUc^ii

j # ,x_y t=*

==Ji

ii
o

&

35
IV
2
6.Pos. 6. Laze6-Pos.

JJ
/Ss

..

tij

e
I

e
I

iiJ

jp

JTP g g r =^

i fT f^T] ^! ~>
j
i

jb

f^z:

Si

p
3fe

^^
fe

1
4 g:=fci
fftefe

IP

Ht
.

*
o

i
^

m
"

t^w ffrf
te
r

r'fff
pI
jt

g
I

r
i

Lr

c_f

\fj
O

\r
1-

^
r *

* p

i
1

n
J

j^

j_jj_Ufiir

rf

rTffrr^ ^1*

*f ff
wIV
2

frf ^i^.
] pf=

=S

^^

n^
k~~ ffT
b<

I
=

r f i

_e

rT,p
|

M^
r
i

? ^

ffff ftf

fffmr

r>lE

j i *m -to
\

Sevcik, Op. 11-X

a=

te

21

36
l.

_8,
7.

l 1

Pos.

7.

Lage.

3E

1- Pos.

ti

m
I

c>

'IF

P^fe- ^ff7"f
1

ifr

8.

5,

"lV

n
i

IV

r"rrr rrrr

If-

^ P m P m

*
I

rrfr TTfrfff-f
i

ggiEpfpf jtr^f^.
4
S-

mffTff.rT
#U-* c

r r r r

t>

IV 1

#f^f fe

rr ff

#f * "rfff

gi

Ofyrpfp.ho
J: g C

fe *=e

P I f
I

3.

If

MJ1

bill

b|f>
fff= * bp ,
I |

J A controller avecle No. uer

No. 2 follows. FoIgtNo. 2.

Sevcik, Op. 11-

10(3)
The chord of the diminished seventh: Der verminderte Septimenakkord:
L' accord de sepfieme diminue'e:

37

2. Pos. 2. Laze2. Tos.

-fr

*'* **"

y'

ii[

IS

fepp
1 1

J^^'Ji
n ljJJ
'

#-#

^ir^Jljrrjl Jj
i

l J^l Trr i
i

itrfrrrfr

rftff =*efe=ff<
4^3

* F

ff

#-

*&* -+ g 4 g

^3 I
r=r

3E
Sevcik, Op. 11-X

j;

#f

'

38

3.

Pos.

3.

POS.

4 m 6
o

^-tr ~-

m
4
O 2

BiSi

rC;

ijrn tttr^LLUlLm * \f fffy

^r^r

^*Pr f ri
(D1
i

r r r

^J

J^jjjj;-n
r

t7

w-f-r ^jj^firr'Tfffifi^

JH

'J
4 ^.

II

J -ZJ^
,4

a.

*>
<-F

^^L

p=fLrr

=^

ff J

^
1

#-|

* v~\u^
icxrf

^
#*
/

H?

^j JJJJ u^r J^f


i

if

Jp

*^~

a e

fi

?
Sevcii, Op. 11-

pf^

39
Pos.

4.

fa
f&y

4.Lage. 4. Pos.

=?f

ei=i
f

^23

i
f
r

i
\

i
4
4

jjg^P

IJ^^J

a)

^
^

frl
1
i

Trrfffff i^r^f^r?

f&

i
Sevcik, Op. 11-X

(2.

1=

:_

j2

s-

HHH

40
Pos.
(fo V,

o
|

m
ll_
oll

5.

S.Zage. 5. Pos.

gEjf
1 1

-*=

3fc

"

wm

& m
-4

'i

* a

#J

ijJjtJ

J JJ

^m
*-

4.

^=f

r=r=rt

ffin

H rm

~~rm
o

$M
i
i

w
- z*

>r r

TF ffr f
i

*f
3.

w
i

rj?r"rffi!Q
i.

3.

rap

-&
o
o

aH ? f *

j i#

'

'

'

eT

*==*==*=5^ r

m
^

:-

r
,/

rjr,^rTr

Hi i

IV

- J- ^ d
d "!

J *=*S

i
* f
|

JT3J
#

m"P
l

JH

S
* *

cirr

as
r

ffff ffff

^f*
#
it

y^T'tt
i
Sevcik, Op. 11-X

p-r

4it_*
j

(jjihqsi^M
**
i
i

i*

fe

41
IV
6. 6.

PosLege, Pos.

i
(

i
r-

fo

*=* *

^^
1
1

\D
?

la

'

iLlt [jj^

Oj uP

^T

ftV'rrn

^m

m f

ppitf

|fTft frff frrf


|

te

ffff ffff

frr f
|

frrf \fr*rt
1

^rp
,

W=H=i

** * o o
Sevcik. Op.
11

*
-X

fiK^
i

.f

*?:

f
o

3
o

42
7.

Pos.

(fo
1,

P-

ZLage.
7.

^f#

Pos.

lr

ill:

Smm a
T '
=
I

BF. _

^PS
:=

.z

te

E#a

E&

jg
jjrffL fr.

ttrff

ff FFf |tfrrff ff fp =r
#
m.

^
0-0

a
T^

-0

'- -0-9-

0-0

0-0

0-0

0,00

mS
i

mtfr^m
-a O-

0-

0-*-

00

zr

^
i

2
M.

* A

#
#-ttff

~0
o

H
o

*T2

H
0-

- i r

-*-=

if7f> rfrffff^| fpf

f^P
U)-

0.

fffy^
fi
i

f>

|r

t^
r

i w g

1*

CI
f f f
f

I |

gj
*

g I

g~g a i

f>r
(Iff

r
|

r>tt F
tfe

mof
o o
\

St
Sevcik, Op. 11-

PF

fff K i d
*
i

-i

No. 3 follows.
I-

~<s 77 o

A. continuer

avec le No.3

11.
The chord of the diminished seventh: Der verminderte Septimenakkord:
L' accord
1
2.
3. 2.

43

J?

hi

de septieme diminuee
i

POS. Lage. Pos.

S
o
1

ac

;J^J

$^*

\m

w
s

"r g=T

tt"j>

ijTJ

J
tt

^
F F Z~|T * r

? pw^s
J ^ J * J
o

'

^ U

"A

^rfrf p^f r
J
I.

.ytf

?3^
i

^^^i
J

J J. J

tl

*TJ

j|

J J

"

Jf.r tfrT7> 1

^r

frffr

1.

i_

^-~
4

j
'

^^
1

a $ r" r" 9

1*"

f"

gr PF

<

\}0
1

E feeP

**
9*

pr7J

j'rnitnrcnT
,

|Cr rrj rr,irr;


l
l

*33

T'T-TO
3
1

m
i
'

JJ
*"

'jjft>^
j

HI J

ll.tr

i'[xrr^
Vg-rff ;F
ii

-"fIt ,
m

|Q; f^f
l^

\>

-i ft>..pfr*.* Ij^T-g T LIJ


1

i ^ ajjjj
fl

:=LfcL

1F

dzcrp

l-F"

o
i

Oi

;f

flf~i

^iH

**

f 'f f

tut bio

ii

Sevcik, Op. 11-

44
3.

Pos. Pos.

3-Lage.
3.

(L

Q
(

-T

mm n^r
I

~^J
'

\,l_J
'3~
i.

JT3
1
I,

ti

jE=jN

3.

3"

i
i

j^

HP
#*E

"

bJ

gp bS

i \W 1^?

'U

o
fl

i.m Ti wf

s
1
i

^^i*
3.
T

is:

g
1

!!
\

p7> r

f^f
r

ff frff

rf

'

pii l
1

m^
0^0
o

;*
2

.y ^

_ 't

r r

#-T

14

Sevcik, Op. 11-X

45

4.

4.
4.

Pos. Lage. Pos.

^^

^E

^t
^_*

$'>

I.

J
tt

J,

s.

m
I

*-

M=v

w?^
i.

s
1 I

lt

J*"

'

bJ

^ J

bJ *

'

flj

LLTfl^J

P j

ftr>
,1.

1
1

f r rf
.

frfftrM'-eSfT^
1. 1.

'^!
#
2.

a
I

HJ t H a

W
I

2^
II

E
1

= p
1

o-

fjt
o

sb 1
b*

1*
*
i

ff

"r

be

Tr

* fi% 3

f
i

"j

*f=H^

r rf rff
(i)-

= i r

rff

F
=e

1*

gJn J

==1
J

i^

^ij^i
n
i

f-f'TfTrJfiftrftr-^l
* g

E^S Si
It"

bi

rr

k
r
r

=JF5

'

I;

Sevgik, Op. 11-X

46
5.

m
(fo
1!

Pos.

2_

B.
5.

Lage.
Pos.

gf
i.

K (o

'

TT7

nr

*#

'

I P
9

P g
a
a

^* ^Q
m m

rt-

3.

fc*

jfeg r

fe
i

3 ^^gUi
tf'^'n rdY
,

3rpc

1
i

47^

iP^i

iiJJr'Tr^

'

iiL

dir'

^YfriT

fflr'frri'

Ug:

\?&

ff

Ut &#ft
't

.f

ttp

SI

rrp

tej
3.

biT**^
1 1

te

fe
te

*r

!/7
Uj/-j

i^r

^Lf rf

-~i
1

b:l

MM
i

-~

gi>3

2WZ

\,fTffftrTr

ffrf

te

B
teb*

^
bte

te

te b*

5=2=
o
<9
I

L^* bJ

^,jjjrf^j^ jT?
'
I

tefe

ttffe

It

rffTifTr fr

IS
!!

bJj*

!>

IV

42

J 5 aJp lj JOTJJJ3 t -^U bJ uJ r w


i l

m^^E
i-

b^

te

fff^rffifft'r^ifrTt I
i
Sz=

-T y rpr^ffmw^^
g
'

PC

90

&

tern

*fc

# bft

bft

ftfe

fe
te=g

pi

Sevcik, Op. 11-X

ni
6.

Pos.

6.
6.

Lage. Pos.

I
(fo

d i

rj

777ii.

* \=m%m
i

atzza=^z

^ U&
1

47

li

elfj

S;

!?

W-

hi
*
(0-

i*

rrf

i*f

O
I'l

m:
3

w=

ifj

^-r#f*

ff
>p

*F
i

*P

fpf
i%

tr
i.

e 'r

^ ^
j>
t*
i

2E*rf

* =
i

te^i f Tf r-*

ttsfe
i*r

- \

*ffj-i>

fnr

l>T>fE

J J-^rr''g IrllTZ rirf tfJl p cxr


i

ff f !ff^

lf/f
221
fe

rr rc
?

i't

1-F

rjrjg

J J -

JJJ -Q
i
^P

-<

|o lO

O lo

T*

'

T^

P#

^-^

*
z:
O

te
<o

zsz:

Sevcik, Op. 11-X

48

7.

Fos.

7.
7.

Lage. Pos.

II
1

m
te
"ST

l*i*~i ^ "^ *^*fi* 1*14* fig iffrf rf ff .f fr rrf'T>r> iT'rr frfr g


-N ~N

<^

ft:

fi

fife

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The chord
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i

49

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L' accord de septieme
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Sevcik, Op. 11

-X

Abbreviations and Signs.


Designation of the Length of the

Abkurzungen und Zeichen.


Bezeichnung der Bogenlange durch
Bruchzahlen.
i

Abreviations

et

Signes.

Division de l'archet au moyen de


fractions
i I
i

Bow by means
i I 1

of fractions:

Whole Bow.
Half Bow.
First Half.

I
i

Ganzer Bogen. Halber Bogen.


Erste Halfte.

Tout l'archet.

s
1.

3
1.

2
1.

Demi- archet.
Premiere moitie.
Seconde moitie.

3
2.

3
3.

3
a.

3
1

Second Half.
One Third.

3
1

Zweite Halfte.

3
1

Ein Brittel des Bogens.


Zivei Brittel den Bogens.

3 3
1.

Two

Thirds.

3
3
1.

3 3
5
l.

Un

tiers de l'archet.

Deux

tiers de l'archet.
tiers. tiers.

3
3.

Firfct Third.

3
3.

Erstes Brittel.

3
3.

Premier

3
3.

Second Third.
Third Third.

3
3.

Zweites Brittel.
Brittes Brittel.

Deuxieme

3
1

3
1

Troisieme tiers.

4
3

One Quarter.
Three Quarters.
1. 1.

1
j. |.

4 3 4
1.

Ein
3

Viertel den Bogens.

Un quart

de l'archet.

Brei Viertel des Bogens.

Trois quarts de l'archet.


I" 3. 3
|"

First) second, Third, Fourth Quarter.

4 4
3. 3
'

I'

|"

Erstes, zweites, dritfes, viertes Viertel des Bogens.


'

Premier, deuxieme, troisieme, quatrieme quart.


et

^
H
V

3 -"

Second and Third Quarters.

Zweites und drittes Viertel.


Herunte/sfrich

Deuxieme
Tirez

troisieme quart.

Down-bow.
Up-bow.
1
)

n
*)

Hinaufstricfi

Poussez. 1)

Broad Bow.
Short, detached (staccato),

Breit gestossen (gezogen).


Abgestossen,
staccato).

Largement.
Bref, martele (staccato)

gehdmmert

(martele

hammered
"
(sautille;
)

(martele)

Springing, bounding,
spiccato; saltato).
)

Springend, geworfen (sautille;


spiccato)

"

SautiHe (spiccato).

Lift

Bow.
s
)

Bogen heben.
Kunstpause (Buftpause) 2)
Erste Saite, E.
Zweite Saite, A.
Britte Saite, B.
3
)

Levez l'archet.

/ 1

Kunstpause (Luftpause)
First String, E.

/ i

Kunstpause (Luftpause) s)
Premiere corde, Mi.

H
HI

Second String, A.

H
HI

Deuxieme

corde, La.

Third String, D.
Fourth String, Q.
3
)

m
o

Troisieme corde, Re.

IV
o

rv Vierte Saite, G.

IV
o

Quatrieme corde,
Corde a vide.
le

Sol. 3 )

Open String.

Leere Saite.

Sul E,_on the E-string.


l

Sul
l

Auf der E-Saite.

Sul Mi,_ Sur


l
j

mi.

First Finger remains on string.

Biegenlassen des ersten Fingers.

Retenez

le

premier doigt sur la corde.


doigt indique par le

The little hook indicates which finger is to remain on string.


Middle of the Bow.
M.
Fr.

Biegenlassen des Fingers aufwelchen das Hdkchen zeigt.


Mitte des Bogens.

Retenez
crochet.

le

M.
T"r.

M.
Fr.

Milieu de l'archet.

At the Nut.

Am, Frosch.

Au

talon de l'archet.

Sp. At the Point.

Sp.

An

der Spitze.

Sp.

la pointe de l'archet.

1)

Unless otherwise indicated, the first measure begins at the nut.


Lift

*)

s
)

Bow and make a brief rest. No practising should be done on strings


not true in the fifths.

Ohne liezeiehnung der Sichtnng beginnt der Anfangstakt iminer ctw Frosch. Bogen heben und /eurze J>aicse maehen.

1 )

Paute d'indication speoiale on commence la premiere mesure au talon.

*)

3) Attf nicht quintenreinen Saiten soil nicht geifdt iverden.

On

Levez l'archet en faisant un bref silence. ne doit jouer que sur des eordes absolu-

ment justes.

CONTENTS OF SCHOOL OF INTONATION


By

OTAKAR
OPUS

SEVCIK
II

CLASSIFICATION OF THE SUBJECT-MATTER.


Part I " Ila
" "

EINTEILUNG DES LEHRSTOFFES


Abteilung I
" " "

ARRANGEMENT DES
MATIERES.
Lage. Partie I " "
"

Introduction to
1st 1st
Position.
"I

the 1st Position.

S*
IV

Zlsllolon:
Position.
J

Supplementary*
rhythmic

Ila lib 1
III

Einfiihrung Lage. Lage. Lage.


-

in die erste

Introduction a

la

premiere posiMatieres

1.

1.
1.

Nebenbei

vorzunehmen*

IV

1. Lage.

Ila lib 1 III

Part

VThe

Major

Scales from Parts Ila and lib. Pieces (1st position, Grade I) with piano. 2
"

*Abt. V Die rhythmisierten DurTonleitern aus Abt. Ila und Vortragsstiicke (1. Lage, lib. Stufe I) mit /Clavier. 2

"

IV

Ire Ire

tion. Ire Position. Ire Position.

]
!

Introduction to the 2d-7th PosiSupplementary: Parts lib, tion. III and IV; also the 2d violin to the 29 Duettinos from Parts I, Ila and lib.

"

Einfiihrung

Dazu: Abt.
sovoie

in die 2.-7. Lage. lib. III und IP,

"

Position. taires.* Position. J *Partie Les Gammes majeures rythmiques des Parties Ila et Compositions (Ire posilib. tion, Degre I) avec piano. 2 Introduction a la 2me-7me Po|

Supplemen-

sition.

Matieres

die zvjeite Violinstimme zu den 29 Duettinen aus Abt. I,

taires: Parties lib, III et

supplemenIV;

Ila und lib.


"

2d-7th Position. ) ci.. t ,^_+ Via Supplementary* VIb -2d-7th Position. J f40 Bohemian Melodies in the 2d-

VA
Vic
Ill

-?: iZ.
t40
2.-7.
sen.

aussi le second violon des 29 Duettini des Parties I, Ila et lib.

"
der

7th position.
"

bohmische 2.-7. Lage.

fVeisen

"

in

Via -2me-7me VIb -2me-7me


+40

Position.

Position.]

L";*" Su m en
PP' e
re t

"

Melodies bohemiennes dans

Vic VII
VIII

2d-7th

Position.

40

Bohemian

"

"

Supplementary: Parts Via and VIb. 2d-7th Position. Supplementary: Part XII (Introduction to ShiftMelodies.

Lage.40 bohmische WeiDazu Abt. Via und VIb.


:

"

Vic
VII
VIII

2me-7me

2.-7. Lage.D azu: Abt. XII {Einfiihrung in den Lagenivechsel).

"

position. Position. 40 Melodies bohemiennes. Matieres supple mentaires: Parties Via et VIb. 2me-7me Position. Matieres Supplementaires Partie XII
la

2me-7me

ing).

" " "


"

IX

XI

2d-7th Position. 2d-7th Position."! 2d-7th Position. 2d-7th Position.


Part
lin

VIII

-7-2.-1.

Lage.

"
"

Supplementary!

IX

X
XI

XIIThe 2d violin to the 40 Bohemian Melodies (Part Vic).

2.-7. Lage. \ 2.-7. Lage. } 2.-7. Lage. J


%Abt.

"

IX

Dazu%

"

XI

2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. taires. Partie XII Le second violon
] S
J

(Introduction au demanche).

W. A. Mozart, Sonatas for vioand piano, No.


4, 7,

and

others.

"

XII s

2d-7th

Position.Introduction to Shifting. Supplementary: Sonatas of W. A. Mozart, Nos. 4, 7, and


others.

XIIDie zvieite Violinstimme aus den 40 bohmischen tVeisen (Abt. Vic). W. A. Mozart, Sonaten fiir Violine u. Klavier, Nr. 4, 7, u. a.

des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Senates pour violon et piano,
"

XII s

2me-7me
tion

Nos.

4, 7, etc.

Position.

Introduc

"

XII s

"

XIII*Transitional Tone used


ing

Scales in a Variety of Forms through 3 Octaves. Supplementary: Concert-studies:

Diatonic
III.

in Shift-

"

XIII*

W Lagenverbindungston.
.

Lage. Einfiihrung in den Dazu: Sonaten Lagenwechsel. A. Mozart, Nr. 4, 7, u. a. von


2.-7.

Diaionische Tonleitern in verschiedener

"

XIII 4

Rode, Concerto No. 6; Viotti, Concerto No. 23; Pieces from

Form durch 3 Oktaven. Dazu Konzertstudien: Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstiicke aus der 3.'
Stufe.

Matieres au demanche. supplementaires: W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc. Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires t u d e s de Concert: Rode, Concert No. 6;
:

Grade

"

XIV

XIV

-Intonation of Double Stops. Supplementary: Continuation of Conand Pieces from cert-studies Grades III and IV.
1

"

XIV

Intonieren

der

Doppelgriffe.

Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.
die rhythmischen Anlagen nicht bei jederdie gleichen sind, konnen die rhythmischen Uebungen aus Abt. Ha und lib selbstdndig vorgenommen nuerden, ohne mit den gleichlauf enden Uebungen fiir die linke Hand gleichen Schritt zu halten. In diesem Falle jedoch sind diese Bogeniibungen bei den folgenden Abieilungen nachzuholen.

Concert No. 23; compodu degre III. Intonation des doubles cordes. Matieres supplementaires: Continuation des fitudes de Concert et compositions des degre s III et IV.
Viotti, sitions
.

1 Because the sense of rhythm varies in individuals, the exercises in Parts Ila and lib may

Da

mann

be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
Parts.
2

1 Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ila et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes. 2 Pour le commencant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords pleins de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intona-

It is of great

play

frequently

importance for the beginner to with piano accompaniment.

The difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intoration, proper crescendos and decrescendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompaniment.
3 To be studied concurrently with Parts Via, VIb, Vic and VII. * To be studied concurrently with Parts VIII, IX, X and XI.

Haufiges Sptelen mit Klavier

ist

f'dnger

von gr&sster (Vichtigkeit. schiedenheit zwischen Geige und Klavier, die vollen Harmonien des Stuckes, die feine Niiancierung in der begleitenden Klavierstimme leiten und drdngen den Anf'dnger zum reinen Intonierent zum Anschwellen und Abschwdchen, zum Akzetituieren der
Tone. Er ivird geradezu gezvmngen den Ton schon zu bilden und das Musikstiick geschmackvoll vorzutragen. Deshalb kann man schon neben Abt. tlIV entsprechend leichtere kleine Stiiche mit Klavier vornehmen.
3

den AnDie Klangverfiir

tion juste, a faire les crescendi et decrescendi, a observer l'accentuation des notes. Tous ces details le forcent a cultiver une belle sonOrite Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer l'etude de pieces faciles avec piano conjointement aux exercices des Parties II-IV. 3 etudier conjointement aux Parties Via,

Neben Abt. Via, VIb, Vic und VII vorzu-

nehmen.
*

Neben Abt. VIII, IX,

und XI vorzune'hmen.

VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII, IX, X, XI.

On an Harmonic
for

Basis

Violin
in XIV PARTS
j

by

OP.

11

Contents of

INTERMEDIATE STUDIES
FROM THE 2nd TO THE 7th POSITION
on

Book

III*

Price Each Part $1.75


Sev-

PART

VII:

CHROMATIC SHIFTING

PART

X:

The Chord of the Dominant

one and on two Strings, with Open String. The Augmented

Controlling

Second.

Harmonic Minor Scales, with Bowing-Exercises for Detache,Leg<ito, Staccato andSpiccato.

The Chord of the Domenth in all Keys. inant Seventh in Arpeggios through the Circle of Fifths in all Positions, with variThe Chord of the Diminished Seventh in various Keys, with Exercises for Fingering and Bowing.
ous kinds of Bowing.

PART
'

VIII:

CONSONANT CHORDS:

Placing the Fingers for the Double-Stop of the Perfect Fifth, with Exercises for Bowing. Preparation of the Double-Stop of the Perfect Fifth. The Major and the Minor Triad in Double-Stops. The BroJcen Triad in various Keys, with Changes of Bowing. CHORDS: The Diminished Triad, with Enharmonic Changes, in Single Tones and Double-Stops.

PART

XI: The Chord of the Diminished Uniform Shifting of Seventh continued. Fingers on one String, with a Controlling

Open

String.

The same on two

Strings.

DISSONANT

Shifting of the Double-Stops of the Diminished Fifth, the Diminished Seventh,the Minor Third and the Major Sixth, with a ControllExercises for Shifting ing Open String.

PART
ued.

The AugmentedTriad in Single Tones and Double Stops, with Exercises for Fingering and Bowing.
Copyright

IX:

The

Diminished Triad contin-

Positions and Finger-Exercises employing different Combinations of Stops for the Chord of the Diminished Seventh. Stretch-

ing of Fingers.

Property of the Publisher

HARMS,
62

Incorporated
STREET, NEW YORK Ltd., LONDON, ENGLAND

WEST

45th

CHAPPELL

&. CO.,

Printed in 0. S. A.

Copyright, 1922, by

Harms

Inc.

AAAAAA.&AAAAAAKA5&

AAAAAAf.^

""'"f ft"tf

^JTi^

,3. i<jtr-u

nf*cr

PART XL
Dissonant Chords in the 2id_?th Position.
Contents.
Continuation of the Chord of the di minished Seventh: Uniform shiftings of the individual fingers on one string, with a controlling open string._Uniform shiftings with two fingers on two strings, with a controllingopen string. Shiftings of the double-stops of the diminished Fifth and the diminished Seventh, the minor Third and the major Sixth, with a controlling open string.- Exercises for shifting positions and finger-exercises employing different combinations of stops for the chord of the diminished Seventh. Stretching the 4th and 1st fingers.

ABTEILUNGXI.
Dissonierende Akkorde in der 2.-7. Lage.
Inhalt.

PARTIE
a
la

XI.

Accords dissonants

2me_7me

Position.

Table des Matieres.


Continuation de l'accord de septie me diminuee: Glissements unifor-

Fortsetzung des verminderten Septimenakkordes: Oleichm'dssige Riikkungen der einzelnen Finger auf einer Suite. _ Oleichmcissige Rukkungen mit zwei Fingernuuf zwei Saiten, mit kontrollierender leerer Suite. -Ruckungen der Doppelgrijfe der verminderten Quinte und verminderten Septime, der kleinenTerz und grossen Sexte, mit kontrollierender leerer Suite. Lugen-undFingeriibungen mit verschieden kombinierten Oriffen des verminderten Septimenukkordes Ubergreifen des 4. und 1. Fingers.
.

mes des doigts individuels surune corde, avee controle d'une corde a
vide._ Glissements uniformes de. deux doigts sur deux cordes, avee controle d'une corde a vide Glissements des doubles cordes de la quinte diminuee et de la septieme diminuee, de la tierce mineure et de la sixte majeure, avee controle dune corde a vide. _ Exereices pour ledemanche et pour les doigts avee differents placements des doigts pour l'accord de septieme diminuee. Extension du 4 I?e et du lr doigt.

1.

The chord of the diminished Seventh: Der verminderte Septimenakkord:


L'accord de septieme diminuee:

Sevcib Op. 11. XI

? ^ JMi ffrj WUJ^rir'.'^'^jijrTjii,


1
, 1

3.Pos.
3.Pos.
S
3
1

*-

B
o
'

f r *f
i

^
O

iii^gr- r

^ap^rOT^

g^ rrrrTr^xrg
r
.

p
O
1

p=s
2

OOO

p
S-

--

f # rfrrf r
|

pfcff^
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21

sf

36
2.

Til
1

1 1

>

j jgjjgiJJJ
1

=DK

ip^r^cSffrfr f^ff frf


1

O
ff

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o o
o

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jtJ

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fe*

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m
|

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mm&

fa-p ^orfrr-ffi Efrpffpf iQ?rfi^p


i

^p j jTpji

3* v
Sevcib Op.U.XI

'

^#

%J p^^^fri^p if

pup

#J

rp *j 'jj^

i.Lage.Z&S
l.Pos.

fi

J~J J

tT

r l*f

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mr*

tt

fJ

*
"flj
fl

^#
2
3
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3B

113 I
4

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o

rr

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r
o
o

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jh

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,

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01

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i

rm
(1)-

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5

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r r

r gp
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t=

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i

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r>?
" J1- te

|J

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W
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Sevcik
Op.ll.

>

"-if

P^ff
o

Je

wm w

XI

3.

5.Pos.
5.Lage.

(L

3
i

{',

5.Pos.

BEg I|
in o

g i *r r pifiiJiiiJ"rr)i||jj^g^*[Xf^i[jrj
itJ"

^ ^ *
o o

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r f fr if

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^u
i _ *
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4

==

f
tfr

f r

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|

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yir7r^
|Ht^

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I

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O
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J] F#f
2

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i

n; tr#r
1

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felft?

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^f

fe

jgfe

S
i

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-0-~9-

=fc=i

feg
tf^j"*
ft

ii

ccr r ccr

'-*

itr

r*r =

Tf flfff
p
i

*?#P

Iff f

fii

rffnrc
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Ccyf tfr
XI

f?^

2z:e

Ai*=

pp irpri? 4 O O 4

Sevcib

Op.ll.

Pos. Lage. 6. Pos.


6.
(>.

-9

Eg
m

B
o

#r e rtiJljlJ^CgF

ft l#r
l

LC; ^ii

^
1
1

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i

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2.

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*+

-9-

+9-S-

ft

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o

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gejw sea
O
rJ
3

ftfcd*

pifM^
fr^r (tr. r
i

-jOe

1%
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f Tfffr>
i

rJ

IV

mm

3 d-d

frpfrfr

fflf lf f T riff ff r fr frvni

i^ S
urt T Pirf
i

mm s* m w '^
u*
1

IK

O O

f'

rcn iJ

IH
O
3

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fe

ttrrf

sic

fe

;rp r i;jrrjTr f [Iir'ii JT '-iif


1

J#

^.Se

(i)

M
j?

^-

.-2

Tf._

2_

E f

.0-

f rr*f f r
i

Q r f

fi r f

g>

r?

uj

r?r uj

^
i

i i

)3

ri
1

[r

Jc r-,j;
r

err

i i. r r r
O
3

f f f *^ r
r
i i [

f f"F/f f p
i

g n

SevcikOp.U.XI

^.

i.

_^.->.

7.
7.

Pos.
Lage.

Q =%5fr
Sr

7.

Pos.

te

#rr

^
#

rj#r^^-j

jrf

jrr
=&

^^
:=

tee

#^a
ie

#fl*^

gg#f gie g

:=

ii

^
*
IV

s
fr ^r
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el:

^
vgg
i

rr

Cf
.

#eel

.rfrfT fff TfffFffi ^


* #-th=

Fff fTfffrfi
i

n r*r

*^T^*r

#r r

ii

ji r

trf itr^r

life

d^
o
1.

:fite

e iff | **te i If

'{ ?
O
2

z
1
1

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#*t

ci* rhc]ifp
i*

s^

^ = P==
i

fl

uffg

ii

N9 N? 4.

follows. foil*

I
I"

Folgtlfo*

'

Acontinm avecleNo.4 iuer

Sevcik On.ll.XI

2(4*)
The chord of the diminished seventh: Der verminderte Septimenakkord:
I/accord de septieme diminuee:

i*

2.pos.

1
1-

1
1

5^53

ry Ji
i

11

=^

tdT,^
1

jj ^ffiv^
^r^
,
i

ij

j)

i jjiij,i3jafJr
b*-I

tf>f^ rM
i

^
3
1

r,

<

00
U
3

#i
o o

-r-

J 3

3
to be practised before N3 in oralternate with finger shifting.

*' N'.'4 is

*>N'.'iist
(ten

der

to

vor N9 2 vorziine/imen 11m mit FhtgerritcA'/tngen abztnvechseln.

*teN94
ment.

devrait etre etudie' avantle N9 3 pour iiiterner avee les exercices pour le glisse -

Sevcik Op.ll.XI

1.

3.Pos.

-6
r

3.Pos.

5f

JJlfljUj jJJ
I

* jggg3gf ^JJjf irrrJTjJ

11JJJ

rr

Mptfrr

rtrrfrr

* J 1 r
'

Fr

j fffrf ff f?
B#

tSf ft- f?

rfrfr

m - m

^
'

i
T*-t7^

x rf rfr

J
W-i:

IMi J]

Ju3

J> jj^JiJJJpj^piarf^j J J J J
[j
l

i r^^ftf^

^f^F

^rp^rf

gr r ft

>s

ri rp

crj

f
=e=

C;JCf
Sevoik Op.ll.XI

OS

4.Pos. 4 Lage. (k 4.Pos.


'.

(*,

4>

i
o o

JG2

g i sBl
\?J

'" '--

*
*
fJ

I I

J J *
O
1

< r rfrffrr
W-

..

^^ =-* ?\rd-

^

0-0

00

V0-

_ r

rt

bl-

s e

m
jrr.irff

P^rtfi^

1.

5l

on
?
:

or

jr~rWfff rrrffffT|ffPf
*
1

&.

f> JIJ[>
Sevcik Op.U.XI

ts^m
SF

10

5.Pos. S.Lage. 5.Pos.

Q fa
ST

(1

S=
3

ILfMJJ
S
.

jzf^M
o
o

m
-"^
1

m ^E^ ^
3.

&

1-

a_gg:

f^^
1

^
l

prtrr
&

PV^
o
o

mm

b#

jj

frY ffJf ETfCfr


1. 1

1, m m

i
*
1

r cri cfcf Eff ff f cff 'ftrfrrrr


:=e*t
f
.

m p-^p m
'

Pd

P d

_ -d

il

^
u-cr

m
1
l

trf Efr tr;


i

iMfm

p ^ fefti

S
^
r
,

mm
ff? f fMM
r
i

^^ fl-HOT
ff

eg

jff

ftfr r

frf f

3*

#f^f
i **
i
o o
.2.

Pr r
v+
:-

ff r f
i

cr

&

ccrfccr^
Sevcik Op.ll.XI

crr^

Wmim ^

11

1.

6.Pos. Q 6.Lage.-&r{*r 6.Pos. ^Y

a
o o

r/f

Ci/'J73fl
1

as H-rgm
1

ftr
\

frr

n\\nrW
O
3_
1

ffftrr
\
\

mM
m^ 1
*-$

^r,.j^:f

1.

tit

^^

tifVtisrqi
i

r r

T rtr?rr r^rcrf
i

rr-fffT-ff
i |

^ff^ff g-^fff
l&

pps
i
221

S
Sevcik Op.ll.XI

i
o

^i

^^j
.J

12

7.

Lage

y.Pos

fe
f-Efff' rf

rrffr t rff ff
.

*
.

#*
iz

>.
:= :=:=
:= ft

*a

t>*

^fPI
:=
:=.

fFff ffff^frfi

#-=

',

J7TJ

gag J r r P f

glg

frffff

N?
o
Sevcik Op.ll.XI

5. follows.

A eontinuciavecleNa5.
o

13

The chord of the diminished seventh: * Der verminderte Septimenakkord: 5jpi=


,

L'accord de septieme diminuee.


1
1

~W~~

2.Pos. S.Lage. 2.Pos.

W
/

*-<*

gp JJ^ ^f

ZTP*

^Aij^ J^'jjd- IP!


l>0

*""*

P
#
^.

*k

- F^f
\T < lJ J
"

IP
F-g

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m
l

J^J
n

J J

JJJ1

(-=-

^p l^
i

f
J.

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.

'

0*z_Z^^
b
ii

^~l_-*

# g L- 0-^-0-

jF

MPPto

ZTji^iJglJiiainnT ujrinrr^riTtrrrTip

CLTf^j
Sevcik Op.
li.

jJJJ i"LU3

^^J "3^

PpFp

te

Si

ffWH

XI

14

3.Pob.
3.pos.

JJJjIJJJjJJ := f L SJE .J *Jt


.

* f*

'

*^

kj

g?

jjflffl^

^te
p
1

J-. yj ^ m

1
1

o
l

k r

=* "-#

^
A
If.kffl

^S gi

ju^

^f
-

H g|
_

gg
"'

^i^p
k &A
3

jH
* 3

^
^
,

bj kl

o o

ke.
:

ffTr ^f?f^f r 7 ?ff


,

^if rfTTfbf
/"R*

M
i

k* "a

ki

*
h
3

A#k

1 l
3
1 1

JJ
b

i &*
J

Q_

rLT mJ
i

rfrrfrT

* r fffffrf

IS

-&

re

iffU
F*i
Sevcik Op. 11. XI

flr x p
,

^m ^^m
\>M-

\>L

Bz

5?

*=$

&=*^-. 1

15

4.Pos. Q 4 Lage. gk 4.Pos. -T

(!

^^
4 SL 3.
I

brf

b.
-tS
1

"#-

Q.^ri*rSJs cITl
'

& g

4 14
1

1-

s
a
$a

f=

TfW

S
^0

77*

m
\>&-

#=F

i*
o o

i
o

mi
1

1
1

m
^
I

0-

L-.

J
o

)?.-& z

2=

e^bibi

.>

^
3

Cfe

k^
O
3

i
3

i
O
-

3.

3_

,"S

h?

k*

k#
3 3

Ife!

c/

'^eM
r

J J

EJ

fel
O

S
3

F*
#

J J

J '*
1

^
1

Jfrr^P
**!>4S>

ffff
b*

fir^p
i

r?^
bpp
J

1.

3.

E^=?
Sevcik Op. 11. XI

:
:sl

fe-

fff
n

|
I
I

*w=e;

16

5.Pos
5.

LageT &Pg^i

5.Pos.

^ ^
7
'

1.

2-

3-

-4

rs;

^^
fcHSr
A
[>

feS

^r

cltrt

^ ^
=3=3;
bA
:2=

^^
4

a.

l.

'gf

^
2

g^
r
,

(fo

-* ~l
1

'

^
3

\>,

*^f? r w=
2.

- ^rf^
r

rr ^--j

'

1 i

1.

2
1

3.

i ^=3

ipt

hi

igM
v

- &=&

-#

^
k*

***

=0

YTrfffff Tfff ffrfr-i


.

m
(1).

_._

# ~

jjj t

#
Sevcik Op. 11. XI

E^P-ft

-ft

-IS-

17

IV
6.Pos.
2
(
,

IV

Lage. (L 6.Pos.
ff.

*3

Sr
1

S3
3.

cj
V

m-cjt r

^
n* 4
o O
l_

s
^te

#
o

#-

pk*b

1.

W-

"

^Vr

rrfj^ r

k#

<r f

r J

ft

i.;

i
rurrrrr

^0 ^

'm
3

*f *|*kji*# fff
ft ;==ft

rli _ k* *ft #
j,
I

fff

ft m.

^g
s^
rfr f

x *

0/

i^xlr
k

ftl*

gf *

^rfff_fbf

i^ffxrr
k
k

* M

Sevcik Op.

11.

XI

18

7.

Pos.

-0
vy

IV
l>

7.

Pos.

P u

Ffr

^^

a.

*=^k

| jjfc/J P't
i

cr

i^f

Crr

^m I m ^7^i eS7S2f
i i i i
t
i

-=-* -
!>

gpS
;.
l

l>

ggj^W

bVT^l

bj

*#***

B^SS*
-4-8
3-

"il^

jps^ jj]

jpijp
P
1

Q^rf ^g
i

MB
k

ffrfffff
Effrf

-^

1
#
I

f># trrfLfr^

ffby-rg B
*
ng.

s
e

yy

cry
t*.-^
k
bL
1

cir

m=$
*-*
Sev^ik Op. 11. XI

^^Effis

fr "

follows. .^ ~I1 N? 6 ! G =\ Foist NV. A eontinueravecleNo.6.

19

Uniform shiftingsof the chord

of the

diminished seventh with one finger.

Oleichmassige R'dekungen des verminderten Septimenakkordes mit einem Finger.

Glissements uniformes de Paccori de septieme diminuee au moyen d'un


doigt.

4(2)
Shiftingsin minor thirds with one finger on a single string, with controlling open string.

Biickurtgen in kleinen Terzen mit einem Finger a>/f einer Saite,mit kont? oilier ender leerer Saite.

Glissements en tierces mineures au moyen d'un doigt sur une corde, avec controle d'une corde a vide.

frr frfTfff frf rtrr.


w
1

r,

fff 'ffffff
.

ff*rr
J3i

^U ^i ^ W^U
i

"

ll&l J 'n^i J J J
000
IV

W
I

IV

3_

W0^
s
i
0-0-0
segue

00
IV

0-0

3
1-

U^^
03
3
2 3

JJJ
3

J
-t
i

*
rv
4

IV
3,

33

pp
rarw

i?o

<sp

segue O

i
s

ge

g=^
<2_

r o

^3
3

3,

4,

^
42

4
v-^a

4i :-

&

fc
o
3
3,

42 :-

fell
o

i
n
o
4 4 4

p n
o
3
3,

w
Sevcik Op.U.XI

1,1

1.1

3,

Wf=ft
m

fgf=t
42 1-

f^f
3

*<?,<?

^M

42

trrr

ff

m N^f 1^ |A ie 4i Ai
IT

fur.iirg

ia

segue

30

m.
__,
1
,

^
l

1,

3
..
I
I

3
i

3
'

3
'

3
i

&~
i

-33
o

3. iftrfF

]j

,i

ju
1

j
(

i'

i,;,,.^ j i^r
1

')

[*

i
f

f p*r p j
o
3

segue

p
4,4
o O
1

it*

if

%^
Tg"

iil

.,4

r r r

1
O o
IV.

rrr
WW

*#e

2 1

*e*l

e*

i*
.
3
3

e*g
o
"
3

e* ids *gf 6ie


si
o
3 3

segue O

o
4
j.4

n-.

0-0-0

#g
1 1

up i

j
2

| uffi

ip

ir

r
3

fftf ii

"
*

ff

ff

#
32
follows.

<
.

4,4

44
N? 2
Folgt Nk.

segue

5(3)
Shiftings with one finger alternating with the open string.

Ruckungen mit

einetn -Finger, ab-

A coatinueraveclelfo.2 Glissements au moyen d'un doigt,al


ternant avee la corde a vide.

wechselnd mit der leeren Saite.

l.^^
o o
s^~-

w rrw
o
o
1

o
-

o
1

-O

o
b

y
ffi

* L

m
L*-

^
o o

14

0-

r.

o o

*
o

r>
o

*Y]
m
O

&

m
o

^J

S
o o o

/Ife

r
o

* f.
o

#
,

T>
o

frf
o
1 1

ii

rT

rf
o

r
o

O
o

Tr T
o

o
n.

__* W=^W
o o o o o

2lO
i7o
'

U-*

'

M w
I

I'

Eg-

CS
nr.
s.

Q
o

Tnr
C*
o

r fn if .fjif
LJ
O

jf.f
o

M*
o

^
o o

==
o o o o

=9= &Sv_*<v
\ l

ff

o
"

r= *^/ 0^0FT^^Z^ V_*x^


-=
-

m.

*=f^
o

m.

#v 5*
'

^o ^ v.* o o
i

=fi

2^
^J
w~

f^wfrff^p^

ss^
'

IV.

IV.

# JiJIJU > *y*


Sevcik Op.
11.

v*

pp
:;4;^

^^"^j^ u^
i

bj

rs

/] ii

XI

21

2.

bb
pc

r
o

11

e
o

a.

a
o

f
^o

ib

r
o

Tn r
t

r
b

r rT r^fTr t
i i

r
b

fifo~

c5

n..

OOO
O

OO
i

OOO OO
#
o

^^ O e/^
o

s r^
'

5~ aaj

^^
o

U p
O

jf .rj J
o
^** o

w U
O

rT nr f~r m
j
O
U**

j
o

f.f j fjf f
i

".

m.

* -*
o
in.

I
o o

s
o~"

o
IV..

T7" o

^
i

u^
o

-^
o

fefe
o

b"

"o

O"

"o

Lr

#wy ipffpp

~:

f#_nrn:

n.

pp
*n

iB
X\

3.3^ f r fr

OO

^ rrfrT Trt/r irTr^r


lht>^i

^n

OO
*

OOO
\

OO
n
O
'

OOO
O
'

OO
O

OO
IT

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Gleichmiissige Riickungen des verminderten Septimenakkordes mit zwei Finger n auf zwei Saiten.

Glissements uniformed de l'accord de septieme diminuee au moyende deux doigts sur deux cordes.

_d-3 r d and 3^-4% Shifting the ist_3nd 2 n . Riickungen des 1.-3., 2r3. and 3.-4. Glissements du ler-gme, 2ie.3me et 3me-4me doigt en quintes diminuees, finger in diminished fifths with controll- Fingers -.in verminderfen Quining open string. teti, mit koutrollierender leererSaite. avec controle d'une corde a, vide.
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24
Shifting of the chord of the diminished seventh in octaves, with the 1 SJ" and 4th finger, with controlling open string.

7
Ruckungen
des verminderten Sep-

timenakkordes in Oktaven fnit dem 1. und 4. Finger^ mit kontrollierender leerer Saite.

Glissements de 1'accord de septieme diminuee en octaves au moyen du leJ et du 4 n2 e doigt, avec controle d'une corde a vide.

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26
The chord of the diminished seventh
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8.
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Fingers, mit kontrottierender leerer
Saite.

finger,

with controlling' open string.

Glissements de l'accord de septieme diminuee en tierces au moyen du l e_r et du S^doigt, avec controle d'une corde a vide.

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IV
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2?r verminderte
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Terzenriicknng des 3. und 4. Fingers, mit kontrollie render leerer Sai-

Glissements de l'accord de septieme diminuee en tierces au moyen du 2 nJ e et du 4n2 e doigt, avee controle d'une corde a vide.

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10.
The chord
of the diminished seventh 2nd. shifted in sixths with the 1st 3 rd an d 3 r d - 4th f inger, with controll.

29
Glissements de l'aceord de septieme diminuee en sixtes au moyen du leJc-2*$B 3 me. 3 me et 3me.4me ioigt, avec con(

-2^

ing open string.

Sextenriickung des verminderten Septimenakkordes mti dem l.-2.,2r 3. und 3.-4. Finger, mit kontroEie render leerer Saite.
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Sevcik Op.U.XI

32
11.

The chord of the diminished seventh while a finger remains on the string.

Der

uerini/iderte Sepfivienakkord

L 'accord

de septieme diminuee, un

mit Liegeitlassert der Finger.

doigt restant pose sur la corde.

i.

fe

rr

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Sevcik Op. II. XI

33

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Sevcik Op.U. XI

34

3.

as P
JtAl
o o o

^m

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3NEE
3

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4=

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III

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i

3-

m m m

fS
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ff

f j 3 3
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i

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o

,u ii 'u
3

Mi U
O

oFi.,ni,j
4
1

35

12.
The chord
on two
of the diminished seventh
string's,

with finger exercises.

Der verminderte Septimenakkord anf zwei Satten, wit Fingeriibungen.

L'accord de septieme diminue'e sur deux cordes, avee exercises pour les doigts.

1.

3^

4^1-11 PH

frffrTfr Li!,
o
i

1 3 5_i

3 i

f r r 4 m
3

r^rr f

44 Cg

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SevcikOp.ll.XI

36

2.

33E"*

o o

13 13

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3


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SevcikOp.ll.XI

37

3.

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3 3.

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Sevoik Op.U.XI

38

13.
The preceding
finger-exercises

through the positions.

Die vorfiergehendenFirtgeriibungen durch die Lagen.

L'exercice precedent parcourant


toutes les positions.

nr
2
1.

2_

^^

n
4
3 *

tr*
4

ffi* SFf
3

M
4
,

m 3=

+--

p-^p3

st=#
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2-

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3

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Sevuik Op.ll.XI

39

2.3&E
^3
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n

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Sevcik Op.ll.XI

40

3.

^FF

ftf

tf

m
4
3

M
* ttf- -^
:

ri

T> f f f
4
3

$ $

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4
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2

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&.

4.

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fti'i^r*
4
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3

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Sevcik Op.ll.XI

13 a
Exercises in the different positions on the broken chord of the diminished

41
Exercices dans differentes positions sur l'accord bris6 deseptieme diminuee sur deux cordes en cordes simples. Les doigts restant poses sur la corde.

seventh on two strings in single stops. Keeping the fingers on the strings.

Lageniibung in gebrochenen verminderten Septimenakkor den auf zwei Saiten in einfa chen Griffen. Liegenlassen der Finger.
2

jnj jJ

r Jj

^r

rr

r*Jj^r

J
i

JiJ

J
itJ

PpP^^PP
afci

i*
Sevcik Op.H.Xl

y^gs^

Lrr

irA n r'

'iVJ.

42

14.
The preeeeding exercise
stops.
in double-

Die vorhergehende Ubung in Dofipelgriffen.

L'exereiee precedent en doubles cordes.

1.

3& pff
f

j a ~
3

7.

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pfff
:

# 0- *th
3
1

fi

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3 8 14
3
3

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1

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3

fe t
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in
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mf?
4
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5.

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ins nrl IV 1

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titIo HI 2

;
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3
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IV 4

Dl8 IV 4

U
1

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ins rv3

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J7

Seveik Op.ll. XI

15.
The broken chord of the diminished seventh, ascending and descending, on
two strings
in single stops, the fin gers shifting by half positions to the

43
L'accord de septieme diminuee, montant et descendant, sur deux eordes en eordes simples. Les doigts avancent par demi- positions jusqu'ala

Gebrochene verminderten Septimenakkorde auf zwei Saiten in


einfachen Griffen, mit Vorriicken der Finger in halben Lagen bis zur 7. Lage, auf und absteigend.

7t"position.

7 ! S e position.

. F #rpf

rn Jin,,

,i

lirpttrTfr ntrflJjr
#

n n3
.

ff 8-

gjg
n

crcr

m rj^r
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tfrrrBti*
nr

frfrf
i

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nr
2

i r rf *-r r^^r
Wl E-

* #.e#** rrf FrfT ^.j j j] r jgj


i

r^n Iwit
n

3-

in

o 3

n 3-

i 3-

flr.ptfrpf

EPS n

O^rl

jaJ] J iTiiJ J [r

IS

3^

m 3

nr

Sevcik Op.U.XI

44

16.
Die vorhergehende Ubung auf zwei Saiten in Doppelgriffen.
L'exercice precedent sur deux cordes en doubles cordes.

The preceeding exercise on two strings


in double stops.

^
i

ttf
I

gsP

n
3
,

>tt
3

d ii
in IV

-z&z
i

m
n
i

m
IV

mm
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3
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m
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in

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ipP
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m
IV
Sevcik Op.U.XI

^^

rzgz.
i

f
n

FT

^*P

4
'

ji

IV

45

16*
Exercises for the various positions with
different combinations of the stops

Lageniibung

tnit

verschieden kom- Exereicesdansdifferentes

positions en dou-

of

the chord of the diminished seventh on two strings; with controlling open string.

binierten Griffen des verminderten bles cordes avec diverses combinaisons de Septimenakkordes auf zwei Saiten, doigte" pour l'accord de septieme diminuee, mit kontrollierender leerer Satte. avec controle d'une corde a vide.

O O

O O

O On*

O O

m,

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u,

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a*

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fir\

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3
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Sevcik Op. 11. XI

46

17
Glissements de l'aeeord de septieme diminuee avec extension du4 me et du lerdoigt
i

Shifting of the chord of the dimin- Ruchungen des.yerminderten Septimenished seventh by means of stretch- akkordes tnit Ubergreifen des 4.und 1. Fingers, ing the 4 th and 11* finger. = O o -Wh u u u4 o O 1 O O il_ i_ O O m O O
, '

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Sevcik Op. 11. XI

V
f

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Abbreviations and Signs


Designation of the Length of the

Abkurzungen und Zeichen.


Bezeichnung der Bogenlange durch
Bruchzahlen.
i I
i

Abreviations

et

Signes.

Division de l'archet au moyen de


fractions.
l

Bow by means of fractions:


Whole Bow.
Half Bow.
First Half.

Ganzer Bogen.

l
l

Tout Parchet.

3
1.

Halber Bogen.
Erste Halfte.

3
1.

Demi- archet.
Premiere moitie.
Seconde moitie.

3
a.

3
3.

Second

Half.

3
1

Zweite Halfte.

3
1

One Third.

Ein Brittel des Bogens.

Un

tiers de l'archet.

Two

Thirds.

2
3
1.

Zwei

Brittel den Bogens.

2
3
1.

Deux

tiers de l'archet.
tiers.

Firfet Third.

3
2.

Erstes Brittel.

3
3.

Premier

Second Third.
Third Third.

3
3.

Zweites Brittel.
Brittes Brittel.

Deuxieme

tiers.

3
1

3
1

Troisieme tiers.

One Quarter.
Three Quarters.
3. ?-

4
3 4
1.

Ein

Viertel den Bogens.

4
3

Un quart
2,

de l'archet.

Brei Viertel das Bogens.

4
1.

Trois quarts de l'archet.


I' I'

4 4

4 4

4 |-

First, Second, Third, Fourth

Quarter.

* Erstes, zweites, drittes, vier4 4 4 4 tes Viertel des Bogens.


2. 3
'

4 4
3. 3

Premier, deuxieme. troisieme, quatrieme quart.


et troisieme quart.

^
n
V

3-'

Second and Third Quarters.

Zweites und drittes


Herunterstrich

Vie?-tel.

Deuxieme
Tirez

Down-bow.
Up-bow.
1
)

n
v

n
x
)

Hina/ifstrich

Poussez. 1)

Broad Bow.
Short, detached (staccato),

Breit gestossen (gezogen).


Abgestossen, ge/iatnmert (martele
staccato).

Largement.
Bref, martele (staccato)

hammered
"
(sautille;
)

(martele).

Springing, bounding,
spiccato; saltato).

Springend, geworfen
spiccato)

(sautille';

"

Sautille (spiccato).

Lift

Bow.
s
)

Bogen
/

fieben.

Levez l'archet.

/
I

Kunstpause (Luftpause)
First String, E.

Kunstpause (Luftpause)^]
Erste Saite, E.

Kunstpause (Luftpause) 8)
Premiere
cor.de, Mi.

H
HI IV
o

Second String, A.

Zweite

Saite, A.

H
HI
3
)

Deuxieme

corde, La.

Third String, D.
Fourth String, G.
3
)

m
rv
o

Britte Saite, B.
Vierte Saite, G.

Troisieme corde, Re.

P7
o

Quatrieme corde,
Corde a vide.
le

Sol.

3
)

Open String.

Lee?e Saite.

Sul E,_onthe E-string.


l

Sul E,
l

Auf der E-Saite.

Sul Mi,_ Sur


l

mi.

First Finger remains on string.

Liegenlassen des ersten Fingers.

Retenez

le le

premier doigt sur la corde.


doigt indique par le

The

little

finger

is to

hook indicates which remain on string.

cfien

Liege nlassen des Fingers anf weldas Hakchen zeigt.


Mitte des Bogens.

Retenez
crochet.

M.
Fr.

Middle of the Bow. At the Nut.


Fr.

M.
Fr.

Milieu de l'archet.

Am. Froscn.

Au
A

talon de l'archet.

Sp. At the Point.

Sp.

An

der Spitze.

Sp.

la pointe de l'archet.

1)

3
)

Unless otherwise indicated, the first measure begins at the nut. Lift Bow and make a brief rest. So practising should be done on strings
not true in the fifths.

')

~J

3)

Ohne Sezeiehnung der Rlchtang begi/int der Anfangstakt i miner am Frosc/i. Bogen heben und kurze Pause wachen. Anf nieht qnintenreinen Saiten soil nicht getibf werden.

*)

Paute d'indication speciale on commence


la

premiere mesure au talon.

8)

3)

Levez l'archet en faisant un bref silence. On ne doit jouer que sur des cordes absolu-

ment

jusles.

CONTENTS OF

SCHOOL OF INTONATION
By

OTAKAR
OPUS
II

SEVC1K

CLASSIFICATION OF THE SUBJECT-MATTER.


-

EINTEILUNG DES LEHRSTOFFES


llteilung I
"

ARRANGEMENT DES
MATIERES.
Partie I lla Ilbi III

Part
"
"

Ha
lib 1
III

" "

Introduction to the 1st Position. 1st Position. 1st Position. Supplementary*

Einfiihrung
1. Lage. 1. Lage.
Lage. 1. Lage.
1.
]
I

in die erste Lage.

Introduction a la premiere position.

lla lib 1
///

1st Position.

"

Nebenbei

IV

vorzunehmen*

1st
*Part

Position.

IV
rhythmic

Scales from Parts Ha Pieces (1st position, with piano. 2

VThe

Major and lib. Grade I)


"

*Abt. VDie rhythmisierten DurTonleitern aus Abt. lla und lib. Vortragsstiicke ( 1. Lage, Stufe 1) mil Klavier. 2

IV

"

Introduction to the 2d-7th Position. Supplementary: Parts lib, III and IV also the 2d violin to
;

Einjiihrung Dazu: Abt.

the 29 Duettinos

from Parts
)

I,

Ha

and
" "

lib.

Lage. lib, 111 und IV, so<wie die zvjeite Violinstimme zu den 29 Duettinen aus Abt. I, lla und lib.
in

die

2.-7.

Matieres Ire Position. Supplemen Ire Position. taires.* Ire Position. *Partie V Les Gammes majeures rythmiques des Parties lla e* lib. Compositions (Ire position, Degre I) avec piano. Introduction a 2me-7me Po1
! [

Ire Position.

la

sition.

Matieres

taires: Parties lib, III et

supplemenIV;

2d-7th Via VIb -2d-7th

Position. Position,

c .,i f + Supplementaryf
in the 2d-

aussi le second violon des 29 Duettini des Parties I, Ha et lib.

Via VIb

f40

Bohemian Melodies
7th position.
Position.

2.-7. Lage. \ 2.-7. Lage. J f40 bubmiscbe 2.-7. Lage.

Dazu^
fVeisen
in

der

Via VIb

2me-7me
-2me-7me
la

Position.

Matieres

Position.] Sup

j^e

men -

"

Vie VII

2d-7th

40

f40 Melodies bohemiennes dans

Bohemian

Vic
Ill

"

Supplementary: Parts Via and VIb. 2d-7th Position. Supplementary:


Melodies.

2.-7.

sen.

Lage. 40 bohmische WeiDazu: Abt. Via und VIb.

Vic
VII
VIII

2me-7me position. 2me-7me Position.40 Melodies


bohemiennes.

Part XII (Introduction to Shifting).


"

2.-7. Lage.D azu: Abt. XII {Einfiihrung in den Lagenvjechset).

2me-7me

Matieres supple mentaires: Parties Via et VIb.


Position.
:

Matieres

VIII

"
"'

IX

X
XI

"

2d-7th Position. 2d-7th Position.] 2d-7th Position. 2d-7th Position.


J

Fill

-^2.-7. Lage.

Supplementary

IX

X
XI

Part

W. A. Mozart, Sonatas for violin

XIIThe 2d violin to the 40 Bohemian Melodies (Part Vic).


and piano, No.
4, 7,

2.-7. Lage. 2.-7. Lage. 2.-7. Lage.


'

]
}

X
Da*u
zweite Violin-

IX

XI

2me-7me Position. 2me-7me Positon. Matieres 2me-7me Positon. Supplemen2me-7me Positon. taires. Partie XII Le second violon
} f
J

Supplement aires Partie XII (Introduction au demanche).

Abt.

XllDie

and

others.

"

XII s

2d-7th

Position.Introduction to Shifting. Supplementary: Sonatas of W. A. Mozart, Nos. 4, 7, and


others.

stimme aus den 40 bbhmischen Weisen (Abt. Vic). W. A. Mozart, Sonaten fur Violine u. Klavier, Nr. 4, 7, u. a.

des 40 Melodies bohemiennes (Partie Vic).W. A. Mozart, Sonates pour violon et piano,

XII

2me-7me
tion
1

Nos.

4, 7, etc.

Position.
:

Introduc

XII s

den Lagenvjechsel. Dazu: Sonaten von W. A. Mozart, Nr. 4, 7, u. a.


2.-7.

Lage.

Einfiihrung

in

XIIH

-Transitional Tone used in Shifting Diatonic Scales in a Variety of Forms through 3 Octaves. Supplementary Concert-studies
:

Xlll 1

Lagenverbindungston.
Form durch
3
:

Diatonische Tonleitern in verscbiedener

XIII

Rode, Concerto No. 6; Concerto No. 23 Pieces Grade III.


;

Viotti,

from

Obtaven. Dazu Konzertstudien Rode, Konzert Nr. 6; Viotti, Konzert Nr. 23 und Vortragsstiicke aus der 3.'
Stufe.

XIV

-Intonation of Double Stops. Supplementary: Continuation of Concert-studies and Pieces from Grades III and IV.
1

XIV

Intonieren

der

XIV
Doppelgriffe.

Dazu: Fortsetzung der Konzertstudien und Vortragsstiicke aus der 3. und 4. Stufe.

au demanche. Matieres supplementaires W. A. Mozart, Sonates pour violon et piano, Nos. 4, 7, etc. Note de transition. Gammes diatoniques en diverses formes parcourant 3 octaves. Matieres supplementaires t u d e s de Concert: Rode, Concert No. 6; Viotti, Concert No. 23; compositions du degre III. Intonation des doubles cordes. Matieres supplementaires: Continuation des tudes de Concert et compositions des degres III et IV.
: .

1 Because the sense of rhythm varies in individuals, the exercises in Parts and lib may

Ha

mann

be studied independently, without keeping pace with the parallel exercises for the left hand. In this case the omission of these exercises in bowing must be made up in the following
Parts.
'-'

Da die rhythmischen Anlagen nicht bei jederdie gleichen sind, konnen die rhythmischen Uebungen aus Abt. lla und lib selbstandig vor-

genommen

It is of great

play

frequently

importance for the beginner to with piano accompaniment.

vierden, ohne mit den gleicklauf enden Uebungen fur die linke Hand gleichen Schritt zu halten. In diesem Falle jedoch sind diese Bogeniibungen bei den folgenden Abieilungen nacazuholen.
2

7 Le sens du rythme n'etant pas le meme chez tous les individus, il est possible d'etudier les exercices rythmiques des Parties Ha et lib independamment, sans egard aux exercices parallels pour la main gauche. Dans ce cas il faut completer plus tard ces exercices d'archet pendant l'etude des parties suivantes.

difference in tone-color between the violin and the piano, the harmonic structure of the music, the fine nuances in the piano-part, all tend to guide, even urge, the beginner toward pure intonation, proper crescendos and decres-

The

Haufiges Spielen mit Klavier

ist

f'dnger

cendos, and correct accentuation. Thus he is almost compelled to produce a more beautiful tone and to render the music with taste. For these reasons he may study, even at an early stage, in connection with Parts II-IV correspondingly easy pieces with piano accompaniment. 2 To be studied concurrently with Parts Via, VIb, Vic and VII. 4 To be studied concurrently with Parts VIII, IX, and XI.

von grosster Wichtigkeit. schiedenheit zviischen Geige und Klavier, die vollen Harmonien des Stiickes, die feine Niiancierung in der begleitenden Klavierstimme leiien und drdngen den Anfanger zum reinen Intonieren, zum An-

den AnDie Klangverfiir

2 Pour le commengant il est de la plus grande importance de jouer souvent avec accompagnement de piano. Le timbre different du violon et du piano, les accords plains de la composition les nuances de l'accompagnement, tout cela conduit, et meme entraine l'eleve a une intona-

und Abschw'dchen, zum Akzentuieren der Tone. Er vjird geradezu gezvmngen den Ton schon zu bilden und das Musibstiick geschmactvoll
schvL-ellen

IIIV
3

vorzutragen. Deshalb kann man schon neben Abt. entsprechend leichtere Heine Stiicte mit

tion juste, a faire les crescendi et decrescendi, a Tous ces observer l'accentuation des notes. details le forcent a cultiver une belle sonorite Pour et a interpreter les ceuvres avec gout. cela il peut deja commencer l'etude de pieces faciles avec piano conjointement aux exercices des Parties II-IV.
3 A etudier conjointement aux Parties Via, VIb, Vic, VII. 4 A etudier conjointement aux Parties VIII, IX, X, XI.

Klavier vornehmen.

Neben Abt. Via, VIb, Vic und VII vorzuNeben Abt. Fill, IX,

nehmen.
*

und XI vorzunehmen.

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Reference and Research Services

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