FRANCOIS RABBATH NOUVELLE TECHNIQUE DE LA CONTREBASSE METHODE COMPLETE ET PROGRESSIVE EN TROIS CAHIERS ENGLISH TEXT — DEUTSCHER TEXT TEXTO CASTELLANO a uae tiem aE plUIe[erences the . FRANCOIS RABBATH est né Je 12 mars 1931 3 ‘Alep. Ti fait partie d'une famille nombeeuse : quatre eurs et cing fréres musiciens. En 1944, reacontre de Francois Rabbath et de la contre- ase: coup de foudre ti Ml étudle seul, al4é des smicthodes d'un contrebassiste frangais : Edouard Nenay, roteroer an Concereoiro do Musiane & Pari ‘2 Fimmense jole d'@tre entendu par deux tres grands interprétes : Yehudi Menuhin et José Iturbi qui Pencow- agent a persévéret. En 1955, i vient & Paris pensant pouvoir rencontrer Edouard Nanny au conservacolee ; hélas, ce dernier est 4éc6d6 depuis. plusieurs années, Siee-isads poorae ie sev Gindes of compos poor la contrebasie. 1963-64: publication de ses premiers enregistrements (contrebasse et percussion). Solisto, il ne joue pas exclusivement ses propres ures, mais également celles des autres, ot en premier lieu celles de JS. Bach et Vivaldi, qu'il transerit. vrs Sesites of inkerrétées A ta contrebas: Désert'- Impalas - Ode d'Espagne - Concer pour une contrebise seule (N" 1) ~ Pouch Daas - Kobolds ~ Creasy ‘ours - Mapteau de pluie - Sete Quate - Ibérique pénin- aulkire (ou Espoit) - Equation, “Tranerptione Wwuves de JS Bach . Adagio @ movement de la Toscata ea sol majeur poor ore). ‘SStatande (& mouvement de le Suite N° 1 pour violoncelle ‘en sol majeur). Gigue (6° mouvement de la Scite N* 1 pour violoncelle gn sol majeu). En juin 1971, log quvres ci-deseus ont fat Fobjet d'un enregisuewent, itu Frangois RABBATHT at Palais des Sports de Pars » (MN). ‘Autres earegistrements ‘The Sound of Bass » (Philips). La Guerre ot ls Pa ~ Gucmica » (MN). +17 Suite en sol pour violonclle de JS, Bach» (MAN). $2 conczeton de Vivaldh» (BEN).Bao Beater Francois Rabbath~: ew NOUVELLE TECHNIQUE de LA CONTREBASSE METHODE COMPLETE ET PROGRESSIVE f EN TROIS CAHIERS: cabier - 1" «postions 2 athier ~ 5° & 4 positions 3 cali «So 6 potions A NEW TECHNIQUE NUEVA TECNICA FOR THE DOUous a1. ~ + sONTRAPATIO A COMPREHENSIVE TUTOR METODO COMPLETO Y PROGRESIVO. IN TRREE VOLUMES TEN TRES CUADERNOS = 1a wlame- 1h 0 ed volame = 3rd and Sed alae oh and eb pve, potions poner povownae NEUE TECHNIK DES KONTRABASSES VOLLSTANDIGE UND FORTSCHREITENDE SCHULE IN DREI HEFTEN = Hift 1-1, wd 2 Lage Higf.2 <3. and 4 Lope High 3-3. und Lage ALPHONSE LEDUC Editions Musicales - 175, rue Saint-Honoré, Paris limping en Fries Prine in Pace YFPremier Cahier First Volume - Erstes Heft Prmer Cuaderno‘TABLE DES MATIERES INTRODUCTION .. MANIERE DE TENIR LA CONTREBASSE, TENUE DE VAROHED 60.20.20 POSE ET CONDUITE DE L’ARCHET PIZZICATO CONCLUSION Exercices cordes vide. . Exercices de ta premigre position - Premier Beg verse eece rene Exercices sur toutes es curdes .. 6... Récrdation n® Len Ut... Bxercice d'archet, Gamme et intervalle ea ta RUN oerincceus tuscan meted i 10 petits exercives rythmiques. Exercie ¢'itervalle, 1° position - 1°" degré - Exuciee prépasitoire on Ia mineur pour Mstude wl (Gamme en ta mineur Gammeen fa... oceceeeeeeee 2, exerci pifpuatotes en fa majaur, pow fete ae an Gomme en fa majeur LF degré Garmes et intervalles en sf b majeur Gamme en sib majeur Etude n® 3. Btude n° 4 en sol majeur - 1'* position - Dedege .. Etude n? 5 en st mineur Etude n® 6 on r6 majeur Bluce n® 7 ea r€ mineur - 1" position - 1¢F eho degre Récséation n° 2 en mi mines Game, en do - 1° et 2 positions - 16", 2° ct BOE eee ee vveeeee teeter ee ur changemsnt de potion «1, 2° aig Brude n° 8-1 et 2* postion - 16° 5® degrés Etude n® 9 en ré mineur - 1° et 2° positions - 182 5¢ dogeés tude n° 10 - 18 et 26 positions - 161 a 5 eds u 13 4 a3 6 "7 18 AL.25.437 CONTENTS: INTRODUCTION... 2 m INSTRUCTIONS FOR HOLDING THE DOUBLE BASS caver wv HOLDING THE BOW POSITION AND CONTROL OF THE BOW PIZzICATO ‘CONCLUSION Exercises for open strings... 2 1R ‘Exercises tn the Sst position - Psst semitone Exercieson all thesteings ..eseeseeeseese 4 Divertimento No.1 in € Major 5 Exercise of bowings. Seale and intervals in Arminor mntsamanieanes 10 ttle rhythomie exercises Exercise of intevals, 1st position - Ist semitone ., 11 Preparatory exeicise in A ininor, for sixly No.1 Scale in A minot B Soule nF oe. ce “4 Preparatory exercises in F major, for stady No.2. 15 Scale in F major- Ist semitone 16 ‘Scale and intervals in B at major ” Scale in Bat major Study No.3 18 Study No, 4 ia G major - 1st position - 2nd semitone 19 Study No, 5 in B minor « K 20 Study No.6 in Dimgjor ..-e..ceeeeeseeee 2 Study No. 7 in D minor- Ist position - Ist and 2rd semitones see 2 Diverimonte Mo.2inEminor «2.6. .s.000. 28 Seal in ma «at and 2nd positions It And and 3 semifones pn seen 24 erie for change of postion - st 2nd and ed semitones, 2 Stacy No, stand 2a postions It, 24, Bed, 4th and Sch semitones... 26 Study No.9 in D miaor - Ist and 2nd positions - 1s, 3nd, Si Sus and Sth semtones a Seusy No, 10, Istana 2nd poston 6,2 3rd, 4th and 5th semitones 8Lavantage se situe surtour dans Paigu = d'un simple mou- vement du beason attzindra les positions’ et 6, sans se courber, sans se pencher. Si cette position de instrament semble h meilleute, c'est patce qu'elle rationalise et libére les moavermenes seu! le bras se déplace. Ul ne faudrait pas oublier que ce n'est pas le doigt qui trouve la note juste lors des changements de positions mais le bras er son mouversent. etre remarque doit inciter 'élevea cépéter souvent exer ice suivant: pas regtder endroit ol doig se pose mae eoteainer plutdt son bras et le mouvement de ce dernier 2 acquént la distance qui correspond 2 la nore desire ‘TENUE DE LARCHET (voir photo n” 32) Larchet a un point d’équilibre qui se situe sur la baguette, legerement en avant de la hausse. (On saisira donc /archce parla baguette, entre les dernigees phalanges des quatre doit igrement eer ct a pointe de pouce plié qui blequera farchet au point o'équilibre ‘Cette tenue détend le poigncr, archet sere plus manible POSE ET CONDUITE DE LARCHET (voir photos n™ 25, 26,27) Larchet doit étre posé sur les cordes entre la touche et Je chevalet, On Te feta prvoter vers 30% afin que seule une partie dela méche soit au contact de la corde fu deplacement ces doigs vers Inigu doit comrsponsie un glissementde Parchet vers e chevalet, Veillera ce quef archet reste parallele au chevalet en ticant (Met en poussant (\ ). Le coup darchet dont on dit quil ft le wists, et fonction de la souplesse articulation du poignet. Le bras se contenteta d'accompagner et de prolonger les mouvements de ce dernier Les cords ne doivent pas cingler sur la touche das fs fortes, on ies réglera cependant au plus prés do oette derniere afin déviter une fatigue de ln main gauche, préjudiciable. PIZZIGATO (voir photo n° 31) Faire vibier les cordes en les piogant avet (‘index ce la inaia ctoite le pouce s‘uppuyant sur le ¢6cé droit de la touche. Cosserver arehet en main. CONCLUSION : Si ceite méthode permettait léclosion d'une nouvelle vision de ki conttebasse résolument rourne vers exploitation maxima de ss potentiates ets, en outro, elle arrivait a décider les futurs contrebassistes se considérer comme des musiciens a par entry, ames echniquement tdcidés sori de ano- rnyma: de Forchestre pour affeonter seus les feux de la tampe, tle cus prove que mon dessem Fa jatife et raon combat utile Francois RABBATH REMERCIEMENTS : Jean LEDUC arise & oui jal pu eter ete méthode Marine RICHARD pour ies photographies que a inlisis TI A NEW TECHNIQUE FOR THE DOUBLE BASS A COMPREHENSIVE TUTOR in thvee slums In setting down the resulis of more than thirty years dedicated to the double bass which were spent trying to penetrate thetonal sectetsofthis incomparably ich and ncbleinstrament, Thave tried to pac myself inthe place ofa stuslencor teacher who might ask himself: “What is the point is having anew methox! when generations of good bass pliers bave foun the tralitional material entirely saistactory?™ I would first like to consider che existing methods-some of which L used in my early years of study (Nanny). Until recently the double bass has never bee lighe, always having been restricted to am accompanying role: composers, musiciias and public have all become conditioned to regard this as the sole function of the instrurnent. “Themethods were based on scales, ar peggiosand melodies ‘which from the outset confined the stuslent Sass player within the boundaries of what was expected of him; i. the r6le of an accompanist. Hiowever the young player should rather begin his studies with higher aims-to become a soloist and to-direct hisefforts in that direction. In the first place, a clear and precise perception of the range of the double bass is imperative. One mast delve into the ‘unknown regions’ of the instrument and should shun any limitations to one’s view of it. The iastrument should set fire to che player's imaginacion. ‘To give the reader a picture ofthis indispensably unified ‘view of the bass, its fingerboard has beea logically divided into sis 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 of the finger- board and leads to greater assurance. Once the student has this picture registered in his mind, i willtheoretically no longer be necessary tor him to fumble for the right nore. It will, moreover, be noted that these divisions do not stop at the farcful ‘thumb position’ (sxe photos Nos. 10, 11 and 12), Beyond this, the waditional methods maintained a cha: racieristie silence, which deprived the student of at least 2 good thisd of the instrument's potential, leaving a zone of musical easte-ld thac only the curious er adventurous mu sician could or would reveal Each position cals for a complete repositioning of the hand. The natural harmonics of the instremen form the basis (ofthis method of division, This gives confidence to the player and makes certain an assured approach. I have tried to put forward some suggested fingerings bbuethe young player will quickly discover those which best suit hus syle and allow him the greatest facility ‘To adhcre blindly to a certain system would be a serious mistake and detrimental to peeformance. ‘Tomemorisea fingering, beit one'sown orsomeoneekse's, isanecessarystep. Thenote hecomes an entity andonenolonger hhas to resort fingering indications , However, from the outset when choosing the fingering for difficulr passages, one should endeavoue to play a piece up co speed. A passage played slowly may well require a diferent fingering to tba nealed at normal speed, ‘The note is more important than the fiayeving and ove shoul eventually be able co dispense with the anaosation of the score,‘One's mind should be concentrated on the aote and aot oon the fingering. Therefore, che final section of the studies will givethe eatly exercises denuded oftheir fingerings. Itison these that the real work must be done on perfecting the techniqueand interpretation. Playingat sight isatemptation which few instrumentalists can resist since they are convinced this will save time. However, they should be dissuaded fiom doing this. The most effective approach is first to read carefully the seore, to imprint iton one's mind. In this way difficulties can be noted and understood better. Thence forward one should work on the music without the instrament. This stage is necessary: indeed, it will help the player to free his mind s0 a3 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 intesrupt an exercise Carry om and when the exercise i finished, go back to the very beginning and not just to the part where you came unstuck. A piece of music is an encity whieh must be seen ay 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 pla the whole ting agin to loathe fc in itsnatural place, toseeitin perspective and o give itits cal valne without overemphasising its importance. Iwill sometimes occur that @ passage eannot be master- ed, even after much work on it. Stop playing. Before going co sleep, when you are quite relaxed, play che passaye again in your imagination as if you were a virtuoso. In your imagina- tion you can achieve almost anything. A good rest ane the seorkings of your subconscious will complete the process and the next day’ the piece will seem easier to play. Thedouble bass calls foracertain physical effort right from the beginning and any stuskent not having @ good idea of the pieccin his mindorinsafficiently prepared psycholog'cally, may ‘well fag and pethaps end up discouraged. INSTRUCTIONS FOR HOLDING THE DOUBLE BASS: When the bass is held vertically, the midéle of the neck should be at shoulder height It is essential to ad st the spike conrectly Afterwards, all one need do is to tlt the instrument towards oneso thatit formsa light angle tothe boy and so that the joint, where the back of theinstrament meets the upper rib, is leant against the body under one's rib-cage. (See photos Nos. 28 and 29). ‘The nck eis she holowof he shoulder Theinsrment is now well positioned, leaving the arms completely free ich intriert etary sgh tbe Be poco (om G to on thetop string), is not so high up. The reduction Of necessary arm movement gives added facility co the left hand ‘The advantage is most apparent in the higher positions. Withone singke movemenco the arm the fifth and sith positions, ace eachedl without twisting or stretching: [i this position seems to be the best, itis because icallows forthe greatest economy and freedom of miovement. Only the One should not forget that when shifting positions, itis not the Finger which finds the right note bur the movement of the atm This should persuade the student to repeat often the followingecercise- don't look to see where to put he finger but train your arm to move che cortectadiscance tothe required note iv HOLDING THE BOW: (see photo No 32) TThe balance point of the bow ison the stick, just above the frog, Consequently the bow should be held by the stick in the last joints ofthe fourslightly separated fingersand the end of the bent thumb which will hold the bow at its balance point This bow hold relaxes the wrist and the bow will be more controilable POSITION AND CONTROL OF THE BOW: (see photos Nos 25, 36,27) The bow should be placed on the strings between the fingerboard and the bridge. Incline it towards you so that only 4 smal part of the hai touches the string. When playing in the higher positions move the bow towards the bridge at the same time as moving che fingers. See that the bow is kepe parallel 0 the bridge on both the up (m) and down (Y ) bows, Bowing, which, itis said, is what distinguishes the vir- ‘oso, isbased on supple wrist articulation. Thearm followsand continues the wrist movements “The strings must not couch the fingerboard but should be set as close ass possible so asco avoid unnecessary fatigue inthe left hand PIZZICATO: (see photo No 31) The strings should be made to vibrate by plucking them with the incex finger of the right hand, while resting the thamb ‘on the right hand side of che fingerboard. The bow should be kept in the hand, CONCLUSION Ifthis work should pavethe way towsrdsa new conception ‘of double bass, decidedly aimed at the fullest use ofits possibil ties, and if st succeeds in convincing futuce bass playces to consider themselves as musicians in their own right, technically competent and determined to rise above the anonymity of aa orchestra and into the limelight, then my project will have beea sworthwhile Feangois RABBATHNOUVELLE TECHNIQUE DE LA CONTREBASSE METHODE COMPLETE ET PROGRESSIVE en troie cabiers, NEUE TECHNIK DES KONTRABASSES VOLISTANDIGE und FORTSCHREITENDE SCHULE in drei Heften. 4e Cahier Signe pour tirer Varchet : m Signe pour pousser Varcher: Brercices cordes a vide. Soutenit le son sur chaque note Zeichen zum Zichen des Bogens (Abstrich) + 9 Zeichen zum Schieben des Bogens (Aufscrich): Y Ubungen mit leeren Saiten. Auf jeder Note den Ton churehhalten. $01 G Rep A NEW TECHNIQUE FOR THE DOUBLE BASS A COMPREHENSIVE TUTOR in three volumes. NUEVA TECNICA DEL CONTRABAJO METODO COMPLETO Y PROGRESIVO en tres ewadernos. Frangois RABBATH Sign for down bows 9 Sign for up bow : V Exercises for open strings. Sustain the sound on each note Signo para recirar el areas Signo para colocar el arco: Y Ejercicios de cuerdas al aire Sastener el sonido sobre cada nota. © wor uy AtrMONSE uxDUG & cH cons Mesias, 3, Roe Si Honore, PasExercice d’zrchet Fs of bowings Ub. far Bogen Bi). de arco AL 28437Exercices de la premiére position. Premicr degré. Exercises in the first position. First semitone. Voir photos ne 1 2, 3 et 19. See photo No.1, 2 3 and 19. Dbungen der 1. Lage, 4. Safe. Bjercicios de Ia primera posicién. Primer grado Siehe Foros Nr1, 2, 3 und 19. Ver fotos N71, 2,3 y 19. 4M corde (Sol](G) 2B corde (Re)(D} 37 corde (La) |.) 4°" corde (Mi) (E) 424 o1242 254 241 ot eo o1 24 21 6 ee ———— 1 corde (Sol) (G) 7} Ex.nl 2 4 aes corde (RE) (D) gf ps 26 1° 1s 3 corde (La) (A) 4m" corde {Mi} (E] o 4 24 o 4 1 4 © 4 24 = 1° corde (Sol) (G) ig Vow te corde (Ré) (D) 2 4 625 Aa 23.497yer corde (La) (A) 20 4 1 4 4% 4 ere corde (Mi) (E) 4 3 “7 1 <7 i Soe Ex, sur toutes les cordes. — Ex. on all the scrings — Ob. iiber alle Saiten. — Fj. sobre todas las cuerdas. 2Gok pew oo se Be ov = PeaSSP= E = ca AL 2sasrRECREATION Nol en ut DIVERTIMENTO No.1 in C major 1 position — 1* degre. Ast_ position — 1sr semitone 4 fois: jouer sans liaison. Ist_ time: play without slurs. Bere fois: jouer avec les liaisons indiquées. 2nd time: play with the slurs indicated SPIELSTUCK Nr.1 in C RECREACION N°1 en do 1 Lage — 1. Stufe. 18 posicién — 48" grado. 1. Mal: ohne Bindung. LE vez: tocarlos sin ligadura. 2 Mal; mit den angegebenen Bindungen spielen. 2% ver: tocarlos con Tas ligaduras indicadas, g si ¢ { o 2 4 2 42 40 are _ 3 F = eS SSS = tf aE + +5 zo 4 a St = == ‘ =F D So hu kes AL a3437d Bx. d’archet. Gamme et intervalle en Ja mineur. Ub. fur Bogen. ‘Tonleiter und Intervalle in a- Moll. Ya Beto 2a Ex, of bowings. Seale and intervals in 4 minor. Fj, de arco. Escala e intervalo en la menor. T= Quinte oof 4 Sepritme: SS ad. 238710 petits exercices rythmiques 10 kleine rhythmische Ubungen 10 little rhythmic exercises 10 pequeiios ejercicios ritmicos fa 2. F-Dur - Fa Do mineur - C minor - C-moll - Do menor 1S Sas ee AL 2aa73 Sol mineur - G minor . G-moll - Sol menor Bo be tes a tite 4 5 SS = she be = 2 Sib- Bb. B-Dur - Sib 149455 2. 4 jo 44 4 eee ts =e o ot2 4 1 24 oct 4 40 tor2doi2z24042 4 AL 2437Fa F-F-Dur - Fa 42 40 38 o tpos@ 0 ae Do mineur - C minor . C-moll - Do menor BS sya cose feos ap . foes AL, 25.43710 Mib - Eb - Es-Dar - Mid 124 2 42 421 = aeP SSS Sib - Bb - B-Dur - Sib ° 2. Rejouer Vexercice N°. 10 avec les coups d’archet Play exercise No. 10 once more with the following suivants: bowings: ‘Gung Nr. 10 noch einmal mit folgenden Strichar- Volver a tocar ejercicio N° 10 con los golpes de ten spielen: arco siguientes: — _ AL. 25.437un Bx, dincervalte Ex, of intervals 1 position — 1 degre. Ist position — Ist semitone. Voir photo n® 22. See photo No. 22. (pour cet ex. le pouce sera placé plus haut). (for this ex. the thumb will be placed higher}, Fj, de intervato. Ub. fir Incervalle. 1 posicién — 18 grado. 1. Lage — L Stufe. Siehe Foto Nr. 22 Ver foro N° 22 (fir diese Ubung den Daumen hoher ansetzen}. (en este ej. el pulgar debe colocarse mas alto) ba 10 he —— ree ALAN2 Faercice préparzivire en ta mineur Prepararory exercise in A minor, pour I'ctude N* 1 for study Nok Vorbereitence tibung in a-Moll, ftir die Erude Net Ejeccicio preparatorio en Ia menor, para el estudio Nei z« —o—_ AL aa?1B Gamme en la mineur Seale in A minor Tonleiter in 2-Moll Escala en la menor ETUDE NeL STUDY Neal EYUDE Wri ESTUDIO N21 i= eEs not GG oon «os cee AL 25.037Gamme en fa Scale in E ‘Tonleiter in F Escala cn fa Octave AL 25452 Exercices préparatoires en fa majeur, pour Vétude N° 2 2 Vorbereitende Wbungen in F- Dur zur Eciide Nr. 2 2 Preparatory exercises in F major, for study No. 2 2 Ejercicios preparatorios en fa mayor Pare el estudio N° 2 Trés lentement By g 40 £ S mpeg ed, bl Beep tt = AL 2.87lo Gamme en fa majeur Scale in F major Tonleiter in F-Dur Escala en fa mayor 1 degre, Ase semitone 1. Sete, Je gradoGamme ct intervalles en sib majeur Seale and intervals in B flat major Toniciter und Intervalle in B-Dur scala ¢ intervalo en si> mayor Quarte AL a7ty Gamme en sib majeur Scale in B flat major Tonleiterin B-Dur Escala en sid mayor ETUDE Ne $ STUDY No. 3 ETUDE Nr. 3 ESTUDIO N° 3 pour différents for different fur verschiedene para, diferentes coups d’archet bawing. styles. Serichare olpes de arca. dew 4 a 1 Ral. - 5 sas, Fhe wae = we do we of Rejouer I’éeude avee les coups d’archet suivan Play this study once more with the following bowings: Die Etlide noch cinmal mit folgenden Stricharten Volver a tocar ef estudio con los golpes de arco spielen: siguientes AL narETUDE Ne 4 en sol majeur 1% position, — 2+ depré. — Voir photo n* 23. ETUDE Nr.4 in G.Dur L Lage — 2 Stule. — Siche Foro Nr 23. 19 STUDY No. 4 in G major Ist position — 2nd semitone. ESTUDIO N° 4 en sol mayor 1 posicin — 2° grado. Ver foro N? 3. See photo No. 23. 2 3m corde 40 corde be o 3 o 1 24 @ o1 2 # — —}— = =, te —— AL 25,087a0 ETUDE N°5 en si mineur STUDY No.5 in B minor ETUDE Nr.5 in h-Moll ESTUDIO Ne5 en si menor AL oaETUDE Ne6 en ce majeur STUDY No.6 in D major ETODE Nr. 6 in D. Dor ESTUDIO N°6 en re mayor dors 1 meson sc a Bee: lez ee = EEF oA = i22 ETUDE Ne? en ré mineur 1% position — 1% et 2 deprés Jl fave aéplacer Ia main gauche pour changer de degré, en évitant de déplacer le pouce, qui restera sur Te 2m degre. Voir photos 1°22, 23 ETUDE Nr.7 in d-Moll L.Lage — J und 2 Safe Man muss die linke Hand fur den Seufenwechsel verschieben und cs miglichst vermeiden, den Dau men zu bewegen, da er auf der zweiten Stuie ver bleiben muss. Siche 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 Ind semitone showd move as little as possible, Set photos Nos. 22, 23. ESTUDIO N°7 en re menor It posieién ~ 1» y 2° grados Para cambiar de grado hay que desplazar Ja mano izquierda, evitando [o mas posible desplazar el pul- gar, el cual permaneceri sobre el 2° grado. Ver fotos N22» 23. Pf Pp frnsfpr Oe AL 25.007233 RECREATION Ne2 en mi mineur DIVERTIMENTO No.2 in E minor SPIELSTUCK Wr. 2 in ¢-Moll RECREACION Ne 2 en mi menor AL 24072h Gamme cn do AW er 2ine positions, — Lr, 2 er 3 Les traics — su-dessus des ‘noves india: position, (2 position — 17 corde? Foir photos n? 4. 5, 6 et 20 Tonieiter in C Lund 2. Lage — 1. 2 und 5. stufe: Dic = fiber den Noren bedvvren 2 lage = t Suited Sachs fara Bet 3, @ und 20, ls conte Scale in C maior degrés. 2nd pousnione — Ise 2nd wad ted sonsttone ent la 2 abise the motes iztdicale the 2ad po: sisi ter sii Seo Von 4, 5, Gand 20 Uscala en do Ty 2 poste = 12 ados de 2 Lape Los trad hina de Las Matas tetican te 2 po 3.6 y 20 corde corde Octave 4Exereice pour changement de position 1m, 2 ot 30° degrds. Le signe 11 ou 2__J. en -dessous de chaque mesure indigue sur quelle corde les notes sont jouées. bong mm Lagenwechsel 1, 2 und 3. Seufe, Das Zeichen 11 oder 2—_J unter einem Takt bedeutes, auf welcher Saite die Noten zu spieton sind. 28 Erercise for change of position Ist, 2nd and 3rd semivone. ‘The indication 1___i or 21 under each bar shows on whac string the notes are to be played Ejercicio para cambio de posterén 1, 2 y 38 grados El signo 1—_1 © 2} debajo de cada compis indica la cuerda sobre la que se tocaran las notas Ab 25.39726 ETUDE Nes STUDY No.8 ec 2% position Ist and 2nd positions er, Bins, 3h, 4b7> ex Sem degrds ist, 2nd, 3ed, deh and 5th semitones ETUDE Ne 8 ESTUDIO Ne 8 Lund 2. Lage 1 y 2 posiciones 1, 2,3, 4. und 5. Seute. Is, 2, 39, 4? y 5° grados.a ETUDE Ne 9 en ré mineur STUDY No. in D minor 3 ex 28" position Ist and 2nd positions Te, ems, ere, 4m oc 50 degrés Ast, 2nd, 3rd, 4th and Sth semitones. ETUDE Nr 9 in dsMoll ESTUDIO Ne 9 en re menor | A, und 2, Lage Le y 2+ posiciones 1. 2,3, 4 und 5. Seufe. Is, 2, 3°, 42 y 58 grados. AT. 2807