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FRANCOIS RABBATH NOUVELLE TECHNIQUE DE LA CONTREBASSE METHODE COMPLETE ET PROGRESSIVE EN TROIS CAHIERS ENGLISH TEXT — DEUTSCHER TEXT TEXTO CASTELLANO ALPHONSE LEDUC ented rr . FRANCOIS RABBATH est né Je 12 mary 1931 & Alep. Il fait partie d’une famille nombreuse: quatre seeurs et cing fréres musiciens. En 1944, rencontre de Frangois Rabbath et de la contre~ basse: coup de foudre!.. I étudie seul, aidé des méthodes d'un contrebassiste frangais : Edouard Nanny, professeur au Conservatoire de Musique de Paris. Ila Vimmence joie d’ére entendu par deux trés grands a interprétes : Yehudi Menuhin et José Iturbi qui lencou- agent a persévérer, En 1955, il vient Paris pensant pouvoir rencontrer Edouard Nanny au conservatoire ; hélas, ce dernier est décédé depuis plusienrs années. 1956-1962: pourmuite do ses études et compositions oar Ia contrebasse. 1963-64: publication de ses premiers enregistrements (contrebasse et percussion). Soliste, il ne joue pas exclusivement ses propres «euvres, mais également celles des autres, et en premier liew celles de J.-S, Bach et Vivaldi, quill transerit. Euvres crits et interprétées i In contrebasse : Désert - Impalas - Ode d'Espagne - Concerto pour une contrebasse seule (N* 1) ~ Poucha Dass ~ Kobolds - Creasy course - Manteat de pluie - Sete Quste - Ibérique pénin- sulaire (ou Espoir) - Equation. tions aeuvres de J-S, Bach: . ‘Adagio (2° mouvement de a Toccata en sol majeur pour orgue). Sarabande (4° mouvernent de la Suite N° 1 pour violoveelie fen sol majeur). Gigue (6 mouvement de Ja Suite N* 1 pour violencelle en sot majeus). En juin 1971, les qeuvres cidessus ont fait Pobiet d'un cenregistrement, intitulé: « Frangois RABBATH au Palais des Sports de Paris» (MIN) ‘Autres : ‘ PALIN port (er Zane Sapte Frangois Rabbath~ « wine” NOUVELLE TECHNIQUE de LA CONTREBASSE METHODE COMPLETE ET PROGRESSIVE EN TROIS CAHIERS =I" cabier -1" ot 2 postions 2 cahier ~ 3 eb & positions 3 cabier = 3° ob 6 postions A NEW TECHNIQUE FOR THE DOUout o1..~ A COMPREHENSIVE TUTOR IN THREE VOLUMES NUEVA TECNICA 7+ TONER AP AIO METODO COMPLETO Y PROG EN TRES CUADERNOS = 101 glume 10h and 2nd postions and volume «3rd and 40h pstons 5rd solume ~ 3th and 6th postions NEUE TECHNIK DES KONTRABASSES VOLLSTANDIGE UND FORTSCHREITENDE SCHULE IN DREL HEFTEN = Hef - 1, nd 2. Lage Heft 2-3. nd 4. Lage Hef 5-5, nd 6. Lage ALPHONSE LEDUC Editions Musicales - 175, rue Saint-Honoré, Paris Iimprimé en Fasce- Peed ia Fence 1 Cahier - Ree YF Premier Cahier First Volume - Erstes Heft Primer Cuaderno ‘TABLE DES MATIERES INTRODUCTION MANIERE DE TENIR LA CONTREBASSE ‘TENUE DE L’ARCHET POSE ET CONDUITE DE LARCHET PIZZICATO CONCLUSION Exercices cordes & vide Eccles de la premibre postion - Premier degré : Exercices sur toutes les cores Réeréation n® 1 en Ut Exercioe d’archet, mineur Gamme et 10 petits exereies rythmiques Exercice Fintervalle, 1° position - 1% degré Exerie prépuatore en la mineur pour Téude Gamme en tamineur ..... - Gamme en fs 2 exerelees préparatoires en fa majeur, pour Veuden® 2.2.0... ececce econ Ganame en fa majeur - 1° degré Gammes et intervaltes en si b majeur Gamme en si’> majeur Etude n° 3 Bude n° 4 en sol_majeur ~ 1 position 2 degre Btude n° 5 ensimineur........... Etude n? 6 en ré majeur .. Etude n° 7 en ré mineur - et 2" degrés . . . © position - 1 Réctéation n® 2 en mi mineur Gamme en do - 1° et 2© positions - 1**, 2° et 3° degrés weet eee Exercice ur changement de position - 1°r, 2° et 3° degres Etude n° 8 - 178 et 2¢ positions - 1° a 5° degrés Binde_n® 9 en 16 mineur - 18° 5° degrés Etude n° 5° degrés . AF et 2 positions - 10 - 17 et 2° positions - Ie & 0 12 15 16 n 18 25 26 27 28 AL.28.437 CONTENTS INTRODUCTION . Ww INSTRUCTIONS FOR HOLDING THE DOUBLE, BASS a HOLDING THE BOW POSITION AND CONTROL OF THE BOW PIZZICATO CONCLUSION Exercises for open strings . . . 12 Exercises in the first position -First semitone... 3 Exercises on ail the strings... =e 4 Divertimento No, im CMBjOr. vee eevee 8 Exercise of bowings. Scale and intervals in Aminor 6 10 little rhythmic exercises Kee F Exercise of intervals, Ist position - Ist semitone «11 Preparatory exerci in A minor, for study No.1. 12 Seale in A minor... 13 Seale in F 4 Preparatory exercises in F major, for study No.2. 15 Scale in F major - Ist semitone 16 Seale and intervals in B flat major 7 Scale in B fat major Study No. 3 . 18 Study No. 4 in G major - tat postion « 2nd semitone i9 Study No. 5 in B ininor 20 Study No. 6 in D major 24 Stody No.7 n D minor. 1 position - Ist and 2nd semitones . 2 Divertimente No. 2 in Eminor ... 2... 2B Seale in C major - Is and 2nd poitons- It 2nd Exercise for change of position «Ist, 2nd and 3d semitones. 25 Study No. 8 - Ist and 2nd positions - Ist, 2nd 3rd, 4th and Sth semitones we 26 Study No, 9 in D minor Ist and 2nd positions - Ist, 2nd, 3rd, 4th and Sth semitones. . 7 Study No, 10 1st and 2nd postions - Ist, 2n8, 3rd, 4th and Sth semitones ceva B Liavantage se situe surtout dans laigu : d'un simple mou vvement du bras on atteindra les positions 5 et 6, sans se courber, sans se pencher. Si cette position de l'instrument semble !a meilleure, cest parce qu'elle rationalise et libére les mouvemnents : seul le bras, se déplace Il ne faudrait pas oublier que ce n'est pas le doige qui trouve la note juste lors des changements de positions mais le bras et son mouvement. ‘Cette remarque doit inciter 'éleve a répéter souvent lexer- ice suivant : ne pas regerder lendroit oi le doigt se pose, mais entrainer plutdt son bras et le mouvement de ce dernier & acquézir la distance qui correspond a la note désirée. TENUE DE LARCHET (voir photo n° 32) Larchet a un point d’équilibre qui se situe sur la baguette, Jégerement en avant de la hausse On saisira donc l'archet baguette, entre les dernigres phalanges des quatre doigts légerement écartés et la pointe du pouce plié qui bloquera farchet au point d’équilibre. Cette tenue détend le poigacr, Varchet sera plus maniable, POSE ET CONDUITE DE L ARCHET (voir photos n™ 25, 26, 27) Larchet doit étre posé sur les condes entre la touche et le chevalet. On le fera pivoter vers s0i afin que seule une partie dela méche soit au contact de la corde Au placement des doigs vers aigu doit coreespondre un glissement de archer vers lechevalet, Veiller3ceque Farchet reste parallele au chevalet en tirant (M) et en poussant ( ). Le coup darchet dont on dit qu'il fait le virtuose, est fonction de la souplesse articulation du poignet. Le bras se contentera d'accompagner et de prolonger les mouvements de ce dernier. Les cordes ne doivent pas cingler sur la touche dans les, fortes, on les régleca cependant au plus prés de cette demnitre afin d'eviter une fatigue de !a main gauche, préjudiciable. PIZZICATO (voir photo n° 31) Faire vibrer les cordes en les pingant avec l'index de fa main droite, le pouce sappuyane sur le coté droit de la touche. Conserver Farchet en main. CONCLUSION Si cette méthode permettait '’éclosion d'une nouvelle vision de la contrebasse résolument rournée vers lexploitition maxima de ses potcotialités et si, en outre elle arivaita décider les futurs contrebassistes 4 se considérer comme des musiciens: A part entiere, armés techniquement et décidés a sortir de 'ano- aya de Forchestre your azote seul les feux del tampe, ule aura prouvé que mon dessein était justifié et mon combat, utile Francois RABBATH REMERCIEMENTS & Jean LEDUC grite & qui jx pu éaiter ceive méthode & Martine RICHARD pour les phowographies qu'elle a éalisées A NEW TECHNIQUE FOR THE DOUBLE BASS A COMPREHENSIVE TUTOR, in three volumes, In setting down the results of more than thirty years dedicated to the double bass which were spent trying to penctrate the tonal secrets ofthisincomparably rich and noble instrament, Ihave tried wo puemyseifin the place ofa studentor teacher who mightt ask himself: “What is the point in having a new method ‘when generations of good bass players have found the traditional material entiely satisfactory?” T would first like to consider the existing methods-some of which I used in my early years of study (Nanny) Until recently the double bass has acver been if the lime- light, always haying been restricted to an accompanying role: ‘composers, musicians and public have all become conditioned to regard this as the sole function of the instrument. The methods werebased on scales, arpeggiosand melodies which from the outset confined the student bass player within the boundaries of what was expected of him; ie. the role of an accompanist. However, the young player should rather begin his studies with higher aims-to become a soloist and to direct his efforts in that direction. In the first place, a clear and precise perception of the range of the double bass is imperative, One must delve into the ‘unknown regions’ of the instrument and should shun. any limitations 10 one’s view of it. The instrument should set fire to the player's imagination, To give the reader a picture ofthis indispensably uniSice view ofthe bass, its fingerboard has bees logically divided into six sections or divisions which simplifies the finding of notes. (Gee photos No. 30 and Nos. 1-18). This precise dividing-up makes for easy understanding of the geography cf the finger board and leads 0 greater assurance, Once the student has this picture registered in his mind, it will cheoretically no longer be necessary for him to fumble for the right note It will, moreover, be noted that these divisions do no: stop at the fateful ‘thumb position’ (See photos Nos. 10, 11 and 12). Beyond this, the traditional methods maintained a cha- racteristic silence, which deprived the student of at least 3 good third of the instrument's potential, leaving a zone of ruisical waste-land thac only the curious or adventurous mu- sician could or would reveal. Each position calls for a complete repositioning of the hand. The natural harmonics of the instrument form the basis of this method of division. This gives confidence to the player and makes certain an assured approach. T have tried to put forward some suggested fingerings but the young plier wil quickly discover hose whichbest suit his style and allow him the greatest facility “To adhere blindly to a certain system would be a serious mistake and detrimental to performance. ‘Tomemoriseafingering, beitone’ sown orsomeone else's, isanecessary step. Thenote becomesanentityandoneno longer has to resort to fingering indications. However, from the outset when choosing the fingering) for difficult passages, one should endeavour to play a piece up to speed. A passage played slowly may well require a different fingering to that needed at normal speed, ‘The note is more important than the fingering and one should eventually be able to dispense with the annotation of the score. One's mind should be concentrated an the note and not ‘on the fingering. Theretore, the final section of the studies will givethe early exercises denuded of theie fingerings. Itison these that the real work must be done on perfecting the technique and interpretation. Playing at sight isa temptation which few instrumentalists can resist since they are convinced this will save time. However, they should be dissuaded from doing this. The most effective approach is first to read carefully the score, to imprint it on one's mind. In this way, difficulties can be noted nd understood better. ‘Thence forward one should work on the music without the instrument. This stage is necessary; indeed, it will help the player to free his mind so as to be able to overcome even the ‘worst pitfalls when he takes up the bow. ‘To minimise obstacles is the way to the heart of the matter as thus one can overcome difficulties and concentrate on inter- pretation. Mistakes and wrong notes should not interrupt an exercise Carry on and when the exercise is finished, go back to the very beginning and not just to the part where you came unstuck. A piece of music is an entity which must be seen as a whole. To play a few difficult bars several times increases the possibility of stumbling in the same places when the whole work is being played To play the whole thing again isto locate the difficulty in itsnatural place, to seeitin perspective and togive ititsteal value without over-emphasising its importance. It will sometimes occur that a passage cannot be master- ed, even after much work on it, Stop playing. Before going to sleep, when you are quite relaxed, play che passage again in your imagination as if you were a virtuoso. In your imagina- tion you can achieve almost anything. A good rest and the workings of your subconscious will eomplete the process and. the next day the piece will seem easier to play. The double bass calls foracertain physica effort right from the beginning and any student not having a good idea of the piece in his mind or insufficiently prepared psychologically, may well flag and pethaps end up discouraged. INSTRUCTIONS FOR HOLDING THE DOUBLE BASS: When the bass is held vertically, the middle of the neck should be at shoulder height. Itis essential to adjust the spike correctly. Afterwards, all one need do is to tilt the instrument towards oneso that it formsaslight angleto the body and so that the joint, where the back of the instrument meets the upper rib, is leant against the body under one’s rib-cage. (See photos Nos. 28 and 29). ‘The neck rests in the hollow ofthe shoulder. The instrument, is now well positioned, leaving the arms completely fre. ‘With the instrument held at this angle, the first position (from G to Bon the top string), is not so high up. Thereduction of necessary arm movement gives added facility to the left hand. ‘The advantage is most apparent in the higher positions With one singe movement of the am the fith ands postions are reached without twisting or stretching. If this position seems to be the best, itis because itallows for the greatest economy and freedom of movement. Only the arm moves. ‘One should not forget that when shifting positions, itis not the finger which finds the right note but the movement of the arm This should persuade the student to repeat often the following exercise: don’t look to see where to put the finger but train your arm to move the correct distance to the required note HOLDING THE BOW: (see photo No 52) ‘The balance point of the bow ison the stick, just aboveth frog, Consequently the bow should be held by the stick in t last joints of the four slightly separated fingers and the end oft bent thumb which will hold the bow at its balance point. This bow hold relaxes the wrist and the bow will be mo: controllable POSITION AND CONTROL OF THE BOW: (see photc Nos 25, 26, 27) ‘The bow should be placed on the strings between th fingerboard and the bridge. Incline it towards you so that on! 1 small part of the hair touches the string. When playing in th higher positions move the bow towards the bridge at the sam time as moring the fingers. See that the bow is kept parallel t the bridge on both the up (Mm) and down (\V ) bows. Bowing, which, it is said, is what distinguishes the vis tuoso, isbased on supple wristarticulation. The arm followsan continues the wrist movements, ‘The strings must not touch the fingerboard but should b setasclose ass possible seas toavoid unnecessary fatiguein th left hand. PIZZICATO: (see photo No 31) ‘The strings should be made to vibrate by plucking ther with hinges finger ofthe ght hand, while esting the tham on the right hand side of the fingerboard. The bow should b kept in the hand. CONCLUSION: Ifthis work should pave the way towards new conceptio! of double bass, decidedly aimed at the fullest use of its possibil ties, and if it succeeds in convincing future bass players t consider themselves as musicians in theic own right, technicall competent and determined to rise above the anonymity of a orchestra and into the limelight, then my project will have bee worthwhile Frangois RABAT! NOUVELLE TECHNIQUE DE LA CONTREBASSE METHODE COMPLETE ET PROGRESSIVE en trois cahiers, NEUE TECHNIK DES KONTRABASSES VOLLSTANDIGE und FORTSCHREITENDE SCHULE in drei Hetten tet Cahier Signe pour tirer Varchet : Signe pour pousser I’archet: Bxercices cordes 4 vide. Soutenir le son sur chaque note. Zeichen zum Ziehen des Bogens |Abstrich) m4 Zeichen zum Schieben des Bogens (Aufstrich): Y bungen mit Ieeren Saiten Auf jeder Note den Ton durchhalten, Sol G RED A NEW TECHNIQUE FOR THE DOUBLE BASS A COMPREHENSIVE TUTOR in three volumes. NUEVA TECNICA DEL CONTRABAJO METODO COMPLETO Y PROGRESIVO en tres cuadernos. Francois RABBATH Sign for down bow: 9 Sign for up bow : V Exercises for open strings. Sustain the sound on each noce Signo para retirar el arco Signo para colocar el arc Ejercicios de cuerdas al aire. Sostener el sonido sobre cada nota fn MiE 1977 by ALPHONSE LEDUC & Ci jons Musicales, 275, Rue Si-Honoré, Pats Al. 25.437 Exercice darchet Fx. of bowings Gb. fiir Bogen: Fj. de arco. q 5 AL 25.37 Exercices de la premiére position. Premier degré. Exercises in the first position. First semitone. Voir photos n° 1, 2, 3 et 19. See photo No.1, 2, 3 and 19. pongen der 1. Lage, 1. Stufe. Ejercicios de Ja primera posicién. Primer grado. Siehe Fotos Nr.1, 2, 3 und 19. Ver fotos No 1, 2,3 y 19. 1* corde (Sol)(G) 2re corde (Ré)(D} 3° corde (La) (A) 4"* corde (Mi) |E) po o1 24210 o124 215 © ot 2421 © opig2bs 2 1" corde (Sol) (G} n ¥ 3 2 Ex.n°1 2 corde (Ré) (D) 5 v 2 ° 2 4 2 0 1 ° 1 4 corde (La) (A) 2 ° 2 4 4, 40+ corde (Mi) (E) ° 4 2 4 0 4 1 4 2 4 2 1 42 1 corde (Sol) (G) Vv Bug 2 corde (Ré) (D) 4 2 AL. 253.437 see corde (La) (A) 2 6 4 1 4 ° 7 4 corde (Mi) (E) o4 2 o 4 o 4 24g 124 8= ee SO ae Ex. sur toutes les cordes. — Bx. on all the strings — Ub. ber alle Saiten. — Bj. sobre codas las cuerdas. ay Bx.1 Spe eee iF 2204245 0 4420 coo 2 oo 42 44 20 1 o 140 She AL 28.487 RECREATION Nel en ut 1 degré. ims fois: jouer avec les liaisons indiquées. SPIELSTUCK Nr.i in C L Lage — 1, Stufe. 1. Mal: ohne Bindung. 2. Mal: mit den angegebenen Bindungen spielen. © =104 Métronome DIVERTIMENTO No.1 in C major Ast position — 1st semitone. Ist time: play without slurs. 2nd time: play with the slurs indicated. RECREACION N-°1 en do 1: posicién — 1 grado. 12 vez: tocarlos sin ligadura. 22 vez: tocarlos con las ligaduras indicadas. AL 25437 6) y Ex, d/archet. Ex. of bowings. Gamme et intervalle en la mineur. Scale and intervals in A minor. Up. fiir Bogen. Fj. de arco. ‘Tonleiter und Intervalle in a- Moll Fscala e intervalo en la menor. Sepriéme o 2 2 oo AL 2457 10 petits exercices rythmiques 10 kleine rhythmische Ubungen 10 little rhythmic exercises 10 pequeiios ejercicios ritmicos Fa - F . F-Dur - Fa Do mineur - C minor - C-moll - Do menor 2 Be =a —— = SSS eye Fa - F - F-Dur - Fa AL, 25.4637 8 Sol mineur - G minor - G-moll - Sol menor Ré mincur - D minor - D-moll - Re menor 2 4 1 = be 52 (SSS [ee ere Sib. Bb - B-Dur - Sib 140140 2 6 2-4 o o4 do toy esoie24o0i12 42 2 444 1 AL. 25.437 Fa-F- B-Dur - Fa 42 to o 2 otter o 4 7 Peers fy a ——— | Do mineur - C minor - C-moll - Do menor a1 64 1 44 242 8g AL. 25.437 Mib - Eb. Es-Dur - Mid 124 2 } Sib - Bb - B-Dur - Sib 10 Rejouer fexercice N°. 10 avec les coups d’archet Play exercise No. 10 once more with the following suivants. bowings: Ubung Nr. 10 noch einma) mit folgenden Strichar- Volver a tocar ejercicio N° 10 con los golpes de ten spielen: arco siguientes: i 7 AL, 25.437 Ex. d’intervalle. {** position — 1° degré. Voir photo n° 22. (pour cet ex. le pouce sexa placé plus haur). Ub. fiir Intervalle. 1. Lage — 1. Stufe. Siehe Foto Nr. 22 fir diese Ubung den Daumen hoher ansetzen). u Ex, of intervals. 1st position — 1st semicone. See photo No. 22. (for this ex. the thumb will be placed higher}, Ej, de intervalo. P posicién — 1% grado. Ver foto NP 22. (en este ej. el pulgar debe colocarse mas alto} Ad 230007 12 Brercice préparatoire en fa mineur, pour I’étude No 1 Vorbereitende Ubung in a- Moll, fiir die Etiide Net Preparatory exercise in A minor, for study Nok Ejercicio preparacorio en Ia menor, para el estudio N° 1. id Wt Al AL, 25.487 13 Gamme en la mineur Scale in A minor Tonleiter in a-Moll Escala en la menor ETUDE Nol STUDY No.1 ETUDE Nrt ESTUDIO N°1 4 e ary I ‘ALL, 25.437 Gamme en fa Scale in F Tonleiter in F Escala en fa Quarce Sepriéme Octave Ad, 25457 2 Exetcices préparatoires en fa majeur, pour Wétude N° 2 2 Vorbereitende Ubungen in F-Dur zur Etiide Nr 2 Trés lentement 40 2 18 2 Preparatory exercises in F major, for study No. 2. 2 Ejercicios pteparatorios en fa mayor. para el estudio N° 2 AL 25.457 16 Gamme en fa majeur Scale in F major Tonleiter in F-Dur Escala en fa mayor 1 degré, Ast semitone. 1. Stufe. 1s" grado. erupt Ne2 STUDY No.2 ETUDE Nr.2 ESTUDIO Ne 2 dso 4 ‘ he icy: es Wie BaF Ww Gamme et intervalles en sid majeur Scale and intervals in B flat major Tonleiter und Intervalle in B-Dur Escala ¢ intervalo en sib mayor 4 1 2 1 2 — +42 + = = 2 - = + % eee —— £ SS AL 25.087 18 Gamme en sib majeur Scale in B flat major Tonlciter in B-Dur Escala en si mayor ETUDE Ne 3 STUDY No. 3 ETUDE Nr. 3 ESTUDIO N° 3 pour différents for different fur verschiedene para diferences coups d’archet. bowing styles. Scricharten. golpes de arco, 1 v 1 ~ rer 1 Ral - V5 - fuc. 7 ee we Hf Rejouer Vétude avee les coups d’archet suivants: Play this study once more with the following bowings Die Ettide noch cinmal mit folgenden Stricharten Volver a tocar ¢l estudio con los golpes de arco spielen: siguientes: t v. v V. ogy nV n AL. 25.007 ETUDE Ne 4 en sol majeur 1% position. — 2 degré, — Voir photo n° 23, ETUDE Nr.4 in G-Dur l. Lage — 2. Stufe. — Siehe Foto Nr. 23. Ie corde 42 4 2e« corde STUDY No. 4 in G major Ist position — 2nd semitone, ESTUDIO N24 en sol mayor 1s posicién — 2° grado. - Ver foto NP 23. See photo No. 23. 4° corde AL, 25.97 20 ETUDE Ne5 en si mineur STUDY No.5 in B minor ETUDE Nr.5 in h-Moll ESTUDIO Ne5 en si menor dzs0 24 2 14 ot o 4 4 j ee e AL 23.07 2b ETUDE Neo en ré majeur STUDY No.6 in D major ETUDE Nr. 6 in D. Dur ESTUDIO N°6 en re mayor AL. 2.037, 22 ETUDE N°7 en ré mineur BP position — 1 et 2°" degrés Tl fawe déptacer Ja main gauche pour changer de degré, en évitant de déplacer le pouce, qui restera sur le 2s degre Voir photos n° 22, 23. ETUDE Nr.7 in d-Moll 1. Lage — 1. und 2. Stufe. Man muss die linke Hand fiir den Stufenwechsel verschieben und es médglichst vermeiden, den Dau. men za bewegen, da er auf der zweiten Stufe ver bleiben muss. Siehe Fotos Nr. 22 und 23. STUDY No.7 in D minor Ist position ~~ Ist and 2nd semitone. ‘The left hand must shift co change semitones bur the thumb, which stays on the 2nd semitone should move as little as_possible. See photos Nos. 22, 23. ESTUDIO N?7 en re menor LP posicién — 42" y 2° grados. Para cambiar de grado hay que desplazar Ja mano izquierda, evitando fo mis posible desplazar el pul gar, el cual permanecera sobre el 2° grado. Ver fotos N* 22, y 23. Pour fini ood | scitement EEN fpf p AL, 25.097 RECREATION Ne2 en mi mineur DIVERTIMENTO No.2 in E minor SPIELSTUCK Nr.2 in e-Moll RECREACION Ne 2 en mi menor AL 28.487 2a Gamme en do 1 ee 2" positions, — 1, 2" cc 3 Les craits — au-dessus des “notes indiguent Ia 2» position. {2° position — 1° corde} Voir photos 2! 4, 5, 6 et 20. Tonleiter in C Lund 2 Lage — 1, 2 und 3. Stove, Die ‘triche — ber den Noren bedeoren dw 2 Lage (2 Lage — 1. Saites Siche bocos Ard 5, 6 und 20, f+ corde 2ee corde Scale in C major Ast aitdh Indl Gaynnone — Ist 2nd Th above the notes indicate che 2nd po won “2nd pas tse strit Sen phntar Nos 4.5, 6 and 20 Escala en do fe pM posiciones — de, 2 9 grado Los trazos nina vig las noras inhean la 2% po Wwidn, (2 postenin — 1? everday, we NO 5, 6 y 20 * corde 4 corde Octave ~ 4 Exercice pour changement de position 4, 2 et 306 degrés Le signe 11 ou 21 en-dessous de chaque mesure indique sur quelle corde les notes sont jouées. Ubung zum Lagenwechsel 1, 2.und 3. Scufe. Das Zeichen 11 oder 2__J unter einem Takt bedeutet, auf welcher Saite die Noten zu spielen sind y Jen D4, Exercise for change of position Ast, 2nd and 3rd semitone. The indication 1___i or 2____|_ under each bar shows on whac string the notes are to be played Bjercicio para cambio de posicién 12, 2° y 3" grados. El signo i___1 0 2___! debajo de cada compas indica Tz cuerda sobre Ia que se tocarén las notas iz I= 3 21 224 S44 Me AL 25.037 26 ETUDE Ne 8 19 et 28" position Im, Dine, 3am, 409 or Sem deards ETUDE Nc8 1. und 2, Lage L, 2,3, 4 und 5, Seufe, STUDY No.8 1st and 2nd positions Ist, 2nd, 3c, 4th and Seh semitones. ESTUDIO Ne 8 Ly 2* posiciones 1, 2, 38, 47 y 5° grados 2 eo AL 25.4057 ETUDE Ne 9 en ré mineur 1" et 2° position tm, Dore, Zum, dime er 58m degrés ETUDE Nr.9 in d-Moll 1, und 2. Lage 1, 2,3, 4 und 5. Seufe. STUDY No.9 in D minor Ist and 2nd positions Ist, 2nd, 3rd, 4th and 5th semitones. ESTUDIO Ne 9 en re menor 1 y 2? posiciones 32, 2, 32, 42 y 5° grados, 28 ETUDE Ne 10 STUDY No. 10 J** et 28 positions Ast and 2nd positions Im, Dima, Same, dime et 5m dearés Ist, 2nd, 3ed, 4th and Sch semicones. ETUDE Nr 10 ESTUDIO Ne 10 1 und 2. Lage 1 y 2 posiciones 1, 2,3, 4. und 5, Stafe. 12, 2, 39, 42 y 5? grados. 422 ts pat 4,214 214g — Ff. @ Rall. L we we Zz afte * fe ee Ss a bebe AL 37