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Full text of "Scale-studies, for the violin"

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Mu 787.11 H 
Hrimalv, Jan 
Scale ■ ~s, 
violin 
143373S 
1 score 



HieNew^rit 
Public Library 

Aator, Leno« and Tjiden Foundations 



N^ [''JBLIC LIBRARY THE BRANCH LIBRARIES 




3333 13128 9023 



y 



The Branch Libraries 

THE NEW YORK PUBLIC LIBRARY MY 
FOR THE PERFORMING ARTS t. ,w to 

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New York, N.Y. 10023-7498 

Books and non-print media may be 
returned to any branch of The New York 
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sets and certain materials must be 
returned to branch from which borrowed. 

All materials must be returned by the last 
date stamped on the card. Fines are 
charged for overdue items. p ^„,„ 

rorm #0567 



Hrimaly. 



SCALE - STUDIES 



Violin 




SCHIRMER'S LIBRARY 

OF MUSICAL CLASSICS 



u 




Vol. 842 



HRIMALY 

Scale-Studies 



For the Violin 



..«<ioRcfxa 




>^>V^VVVVVVVVi-^i>"Wt%f^^ 



>- 




SCHIRMER'S LIBRARY 

OF MUSICAL CLASSICS 

/ — 

Vol. 842 




J. H R I M A L Y 
Scale-Studies 



For the Violin 



* 



MUS 



G. SCHIRMER, Inc. 



\6, 



DislnbuleO bv 
HAIUONARDMWUSHIHCCOIIPOOATKNI 



Copyright. 1905, by G. Schirmer, Inc 



Primed in lh< U. S A 



IVIU<J 



^ 



Scale-Studies 



C Major. Long drawn out, with full tone, and change the bow without a break. 
Moderatd. 



J. Hfimaly. 



£ 



4 



^ 



^ 



^ 



'/ 



/// 



* 4 



\ ^\ 



^-^ 



^^ 



^ 



P u 



^ — r i 



f 



A Minor. As above. 
Moderate. 



^ 



itp tt f if 



2 



^ 



J J ' i J I ^ i n 






3 



o 9 



f ^f A^ u 



P — n 



^ — r i 



^F^l 



« E^ 



^^^ /^V3^:: 



F Major. The piano must be soft but clear. 
Laig-o. 



i 



in: 



^o . OL *^ 



BE 



33: 



-«- 



331 



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1* 



il 



_£»_ 



-e- 



33= 



-»- 



33= 



^1 



-o- 



=13= 



-O- 



D Minor. An even forte throughout. The tone strong, but not pressed. 
Laig-o. 



I 



fea 



% 



1 e- 



M I o 



_£i_ 



fl>^ '^ 



t* I o 



=a= 



«- 



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# 



?£» 4* 



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17636 X 



Printed In the V. S. A. 



40 LINCOLN Cr;::-i:a plaza 



B\> Major. Have no break between the forte and piano. 
Adag-io. 



m 



i 



^ 



F^ 






32 



/ 



/ 



P 



f 



^^ 



15^ 



f^=^ 



^=^ 



i' 



/ 



i' 



/ 



p 



f 



^m 



^^ 



/ 



p 



f 



G Minor. As above. 
Adagfio. 



^^ 



^^ 



pE^ 



321 



?^ 



~Z7 



77 
P 



f 



f 



P 



i 



i r I ^f I f I r I f I f 



tip- I I 



/ 



^ 



l5>-=- 



TTT- 



p 



f 



p 



f 



p 



i 



^ 



^ 



j2 



/ 



p 



f 



p 



m 



E? Major. Give the up-bo\v as much accent as the down-bow. 
\l Andante. 



f 






i 



^m 



^ 



^'^ 



# 



''.. f i fif 



s 



^ 



C Minor. As above. 
Andante. 



^ 






i I f I r • 



^ 



fe^ 



P 



17636 



Af» Major. (Count two.) The quarter-note light and short, almost like an eighth. 
Alia breve. 




^ 



^^^ 



fiM- 



i 



-6^ 



f 



^ 



k 



?d? 



<»-=- 



Ci 



^ 



=S-5- 



J U. J '" 4 



^^ 



F Minor. As above. 

Alia bi "ve. 



i 



^a 



^ 



fe 



^M 



I ^^> ^' r 



^ 



^ 



Iy^ • [> 



p^ 



1^^ 



Dl> Major. The quarter-note almost like an eighth. 
Alia breve. 



t 



^ 



B; ^ 



d ti- 



t 



^ r' i r 



r f • I r f 



^ 



^ 



i&-=- 



^ 



^^ 



B|> Minor. As above. 

Alia breve. 




^m 



^ 



-o^ 



i 



\^- W f^TT 



19-^ 



^^ 



^tf 



[\ oH yfil» Major. Broad and even tone. 



^ 



^ 



-<9-=- 



J J. -Ilj-I 




Andante. 






xn 



-^^ 



f I r 



i 



^ 



-^^^=f^ 



19^ 



f I f I ^i- -11 J- I 



178 a 6 



6 



Eb Minor. As soft as possible, holding the bow very lightly. 
Andante. 






m 



rm 



^^ 



^ 



i 



ffig^ 



^ 



135 



^/> 



JM^^^-A^ 



W I U 



^ 



i^ 



^ 



-SM- 



32b 



F|J Major. The quarter- note short, the accent strong. 
Allegro moderato. 



iife 



i 



r r r ' r [' 



-«- 



^ 



m a 



"/ 



^ 



#— » 



f i rr f i ff f i rr f i rr r 



i 



lito 



f t^t« r r r 



a p 



i^ 



^' — p- 



u nrr r 



1 g ) 1 • 



Df Minor. As above. 

Allegro moderato. 



^te 



i 



"r r r 't r 



w/*4 



^ 



m rj m 



^ — 1^ 



V" 



• f3 m. 






-^ — (»- 



^ 



?2=3K 



' l^f f' r IH r p r I j ^ J J 



^ 



B Major. The quarter-note in the same bow, and somewhat shortened. 
Allegro. 



^m 



n,f 



XT+TTC7 



lEz: 



I J J I J J I P^ ^ 



a m 



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M 



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w # 



?^^^ 



^ 



=g^-tf-|-7J - 



J J l Ji^'T^ 



17636 



G|^ Minor. Play the eighth-note the same as the quarter in the preceding exercise 
Allegretto. 



$ 



a 



j) LJ J) I J in ^^ - 



m 



A J)U J)lj j) l j i ' J ^ j 



^ 



ws 



1^ 



ii^ 



p=Pf 



«i» — ii^ 



P i T T i f P i ff If P i ^rl i'i 



p=pf 



£ 



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S 



^^ i r P I f p l iJ' i ^J- i JJ' i j^jHjj^ij jjj j) i ^ j;« I 



\ 



E Major. 



r-s' I 



m 



Allegro ag"itato 



i^ 









^ 



• • 



p poco 

C|t Minor. 

Allegro ag-itato. 



poco vrcsc. f poco a poco dimin. p 



^ 



i 






^ 



^ 



ap 



^ 



i 



E 



jt; poco a poco creso. f poco a poco dimin. p 



A Major. 

Sostenuto. 






s 



^^^ 



^ 



^•rfi^-J-J-ij-iM- i i 



s 



PP 



w 



/ 



FJt Minor. 

Andante moderato. 



••♦• iS*-' 



^ 



fe^ 



!?• /O' 



fa 



^^- J' il 



m 



iie 



^ 



ziiz^ 



XtJ 



/ 

D Major. 

Tempo g-iusto 



WTjjoJJiprp i Kr i ^rpiprp i pH^ i J'^^'- ii j^ 



p 

B Minor. 



^^^^^^ 



J' l i' J i^ l h I hl l I i 



2 



p i pr^i^UJ'Uuj)i ' j 



p 

G Major. 

Moderato. 



ji Moderato . .^ . ^ P f , ff P^ ,^T^ . ■ PT f.^ 



E Minor. 







#-• 



^ 



^^ 



V^^-l 



8 



6 U' 






First practise these scales legato, and then play them with the bowing given below. The correct stopping of 
the Sixth and Seventh is prepared by the short finger-exercise preceding each minor scale. 



^ C major 



u 



^ " lg^l^ l il^ ^ 



A minor. 



fi fg'g^ 



a 






^^^^^^1 



=^;r 




^ 



f 



F major. 



D minor. 




B!> major. 




G minor. 



'- i^''"J^"JllJ^l|g 




E!> major. C minor. 



Ab major. 



F minor. 



i ^'^'^ '^ jj]gi%i J %H#'^ ^]m--i ^ m& ^2 } 



fe 



Dt» major. -^ Bt> minor. 



GI? major. 



E\> mi 



minor. 



ji-'i^i-.^ .gJrrrr i rrrrJB i gl i Jt i^'v^j'*^grrfr i|^l^ i ,DJ^r| 



e 



\^ / FH major. 



* 




, 'ir%"» jj.' rmi^; c"jj j i f frri , a- i J'- 1'« ^h"" ^» f 



D^ minor. 




17636 



B major. 



Git 



minor. 



^%^^0 i \ %\0 }j- \ %^S3 



E major 



.^» i i"»(ijj%rrir[QjJ?iJ 



Mfpp 



CH minor. ^^^ ^^...^^^ ,„^^ 



A major. 



F^ minor. 



^"" ■- jjjjgi%yff ^jy> 1'"''^ grrfirijjJf^ffr i QPQ-jjji^lij^ i 



D major. 



B minor 



{. h.g ^ \ ^i\MA ji ii » ii njjgji^ i J %ij g.%H 



G major. 




Major and Minor Scales Within the First Position. 
^•] \ .y The previous remarks are a sufficient guide for practice. 




■^ m^i- 



^m^^- 




f '^ ^j!;ffjtffl-Ckgriga-:;Q.j:g^: ii .j3^^Cc;[!^:i i j 



^ 



17636 



10 




l^^^^^i^fl-EETi^n^ ^^\\0\] %0^\ % 




^ i j-jjj i jjc^y-fjjiy 



^^^^^^^^^^^^^^ 



^^^^^^fe 





p::^mw^W 




f'' i >^ j ; : j^a c ^''&£Ji^i^'' E;£;.J ^ # j^c£ rr :riC rr [^^:i ju 



i 



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#^ 



J^:» l M 



pg^^Ma^ 




H^ f'i>Hj::crrri:r|r:ra: ^:i i .^ ; ^r i t[^ ^ 



f W' -i jjfS^FCfl'i^E^jyj #ggjeg^figl^^- i h^^ 



17836 



11 



p^^^^^^^^^^^^ 



phS''} 0^^^ ^ 




^ \ [::^m^n 



^H \. Sl ^^f^^^^ ^ i^t- 




i ^i^» .^ .^0^::;!^\^;;i;}ii^m0m [^[^m 



i 



a 



«!' ffl 



if*' 



^ii^f^^rpSj j ijjp^c^ l CMi^^ 



^ ^ 1 ^ >^ jg i%i ^ l ^ ^Ep35g#jjg6^ 



^ " i i" ^ ^ ^ ' ^ \ ^ ^ ^ \ :^^M :\ :!^i ^^n 



i ^"'^ |^:S^tfP^to^%;pW^^^ 




f ^jf^»rtuc:;c :;^3ijj^^cj rir:f:^^j-i i jn I 



I7«:)6 



•' 40 LINCOLN CENl-EH PLA.- . 

KEV/yORK. NY 10023 



;.aT3 



12 




N91. 

Major Scales Beginning with the First Finger. 



Scales without changing position. 



"^ 1st Position. 



'I ' " jggi j # i ''°i 




jJwPl 







4 ^ ♦ 4 ^ 



2nd Pos. 



^ 



;pg ^ ^ i ^ %*jgtr-a i ]jg^ra 




3rd Pos. 



^^g 



^lI) 







^^ 4th Pos. 



/^^^p 




p -' Di i arrroj 



^ 




^%#W I Jg% 



17 37 






^^ 



-fil- ■» 



m 



n? 



z? — zr 



17636 



5 th Pos. 





r p^flJrtftTTf^ i JJ^rJ^ 




Ph'n:^^ 




f^m- H^ ■ ■ nJ P P _> i ni l* p v n I 



22: 



7th Pos 




\ 



N9 2. 

Minor Scales Beginning with the First Finger. 



\h^ The accents well marked. The first four bowings with the upper half of the bow. 
1st Pos. 







>^-^ 



o^ 






f? 






2nd Pos 




ai^r^Jiji'^^'^JijA 



17636 



14 



At the point and very short and dry. 

Martflle 




jr^-^j i jf o- i i i Ji 



The first note sharp and short. 
3rd Pos. 




^P^^^^^ 



\v With half of the bow, a short pause after the third note, and make the last note sharply staccato. 







With a brisker style of bowing. 



4th Pos 




'^-Sfl-J3J#^CQ>IJ^^t 



-Q — zr 



5th Pos. 



^^ 



^^ 




Nut Point N"* Point 



Nut 




ibow 



Point, softly %bow Nu* 



^yWSS^^'ii^ 



-& — G- 



\1 



^y„jJ^ Accents well marked. Lively style. 

6th Pos. 



$ 




^f.> 



'C^ % B#p[ c-l J^^ i 



n: 



i^if^ 



Middle Point 







The detached notes energetically. 

7th Pos. . r:^t|itte? 



mfimi i mifji 



rj , 'i^ 




t7b.16 



N9 3. 

Major Scales Beginning with the Second Finger. 



15 



|?>:pj ? ;i^iS r^^i^^ 







^ _ p 



m 



mf 

WO 
3ra Pes 



4th Pos. 




' f.^-^^ tjiPrcrtrf^l i jJr0trr^: | l^i j II 

. »'f ^ ^ — ^ 



^^^ 






I'll jj:iiffaiirrrr|rffrrii |^j^ i j^ffmt^ijftF^ ^ 



f'u^ fflJ3S^ 




f l l^^^q^ ^ 



';cfl-Jipi i -M£^iM^^ 




;cfl^iL[.Prrr\#g^ 



m 



^r // - - p- ^ ^ f- -_ ^>^ P-^J^-^^' 






6ft Pos 




7th Pos. 



I^'lh^ ^ ^ 



:cq -^: ii :jfrrnTr[r^ i ^r^ ^ 

p- - f- - p- -f- - p- - 



17636 



IB 



N9 4. 

Minor Scales Beginning with the Second Finger 
Softly, near the finger-board. -_ 



1^^^^ 



In the middle of the bow, rather briskly. Springing bow. 

Sautillc- _ . . ^ 






'S^ iM^ \ 




ji-i^ (3rd Fos. 



Very light staccato. 




^i00Mii!ij^i 



zi — ZJ 



4th Pos 



The rhythm must be well marked and all the notes shor.t. 




^'mp.-^-g 




!^[^ 'II 



fi« 



Si 




17636 



Use nearly the whole bow, and sustain each note. 



17 



5th Pos. Grand Detache 



m t 




Very slowly 



fii'irT^^irrr 






^^ 



« 



rJ ri 



More bow as the rrescendo increases 
6th Pos. Middle of the bow. 
2 




1st Position 



N9 5. 

Major Scales Commencing with the Third Finger,- and the Study of the Staccato. 

44 4 4 




pE^ 



%- i NiJrrffr^ i J?fjr^^ 



17636 




^p^^^^ 






5th Pos^^^ ^^^ pTT f ' 



4 4 




r)th Pos. n 




44. 



^m 



44 



7th Pos. 



>f^ 






I 



it 



^ 




I 



v.-F 



nn 



^ 



17636 



19 



Scales and broken thirds on one string for practice in changing positions. 
The left hand must be held quite at ease, with the thumb \ery flexible. Execute each change of position 
with precision. Alternation between the 1st, 3d and 5th Positions. 



N9 2. 




N03 



N?4. 




Alternation between the 2d, 4th and 6th Positions. 
-,ri ■ rr /^ . N9 2. 




20 



N9 4. 




J "I'jiir^i^ 



Alternation between the 3d, 5th and 7th Positions. 

N9 2. 



f 






1 



— ■ — -^ « :*■ 



VT 



t .j:? r[ ir i rx frJ ^ 



I ' i i i^ciJ crr r i L rr. ^ ^ 



T 

III. 



i"iN.rrirrrff | ^frjm 



,;^»iiiifrr;crrrrfff | tgftffrfffp 



II. 




i 






N9 1. 






g^ n 33 i i: T i 



JJJjJa^ ' ljj'J l^ 






III.' 



J f iiifiii'ij'.TO 



f .^1 1 inriTi TJ 



•^ n.''TT. ^T... 



ai i2 4 



.f, 4m^ 



il2 3 



ft»f£ 



^ 





i-iese 



NO 7. 

A Major and Minor Scales and Arpeggios in Two Octaves, Changing Positions.*^ 

V/ 



21 




^W 






ite% fffei 



^'^fOT e: 







f 




^ -- ii , 1 



W 



^V ^ - '^ TTT 





- ^ ^ji '^ ^ f 




*) First practise each of these scales Icgnti,^ then the bowings marked below, and shading, should be practised. 
176 3« 



I' I I - [f p d 




p' \\ --0 d 




^^ 




detache 




^^^^^i 



detache 




martelle 



f-'U | :J^ fflS 




.a. 



l ijj nj .rrrr 




T^ ^^ 



martelle 



1763B 



\A: 



\^ 



23 



iMf ff£^* 



ii''i> I. 'm^ Ctf fE^i ^^^ l ^^rf Effl-^jr J^ :| | J I 

*^ Sautille ' ' ' ^ 



(^Springing bow) 






Sautille 





^^ 



III 






z g 



^ ^ 



«^'' i ^'' rTj j 




^ 




(fg^'Vh. I |: i 




^fe 



.2 



^^ 



17«36 



^^ 



M'-- 




r^i^Eltffe^^^ 



w 



l'\h^'i'-m^^d 



Mii tf 



^ 



p'\H' I I : Jp ^ S£ 



m <' fjft 




JMn i.i j ^ j ^ rfffr r 'F ^l i yprC;fffoJTT]: 



V. 







Mf»- 




i ^ O 





1 # -• — 



^^ 



bJ^ 

^ 







• ^ iAr:i-|..2 



# ^ i 



III 



W 



-©• -«■ 



W 



E 



-«i5 



I7e»e 




17«3« 



26 > 



K>^ 




^^ 







— r I" * 




i^ 



^ 



^^l¥% ff i^#iS. 




17636 



\f ,,^ 'b' 1/ . k. 'V 



^ ^' jW''"^ "'' 



27 



(9 



I v> ^/ N? 8. 

Further Changing of Positions in Exercises on One String. 



Connection of the 1st with 3rd, 5th and 7th positions. 





K^-. — : — T r : : . - 




IvTr- . ^ - - 




J^iJ33J3Sj 




Note: Begin these exercises in slow tempo and gradually increase to Alh'^rii rirure. Impure intonation and unevenness 
ehontd be the best hint to teacher and pupil to return to a slower pace. 



I7ti3n 



28 




'j!!]I!^M 






Practise the following exercises on the other three strings also, in the same manner. 



^^ 



J. J • J fT ' ^ 



p^M^i^^mw \jpjf i^^ 











m 



^^■•Ji*i* f "L • 



•y*i,^ 



«■ -r 



IV. 




^^^^^ffi 



« u J ]J« 




Connection of the 2d, 4fh, bth and 8th positions. Also in F, C and G major on the D, A and E-strings. 




17636 



29 




,fi ' ' ^™WT7:' roi m^ i }:TOjjjjj]jjj^ 




•JS3JS^I^J^, 




Connection of the 3rd, 5th, 7th and 9th positions. Also on the D, A and E-strings, in G, D and A major. 

3 





4 rf^FUrmi!^ ^ 




m^ 




Connection of the 3rd, 4th, 5th, Hth, 7th, 8th, 9t}i and 10th positions. 




i 



f ^m.^^m.m 



rrrrrrrrrrrrrrrrrrrrrrr^^ 




17636 



"""™lw«ss^E~ 



30 N9 9. 

Changing Fingers on One Tone. ' 
These exercises, like those preceding,are to be played on all the strings. 




IV- 



$ 



SfST^fff*?** 



--OOP a ^ o r, ^ ^ ■^ m M 



1 



^ P J^ l J] 



?4 8 .* 



Jt^f^^i " ' ^jU*-^ 'tilFttlJ 't J^ jj#J "^iji^ii^^'-igt^^J" 



8 8 B 8 



a 8 a s??**-^ 
^ ^ » 3 a a 



-»-^ 



1 4 



IV 

Scales through two octaves on one string. 




Ihe same tin gering. ^ .^Tt 9. j^ - ^^....^ 




As before 




*)Note: Do not neglect this seemingly unimportant exercise, the peculiar usefulness of which consists in changing fingers 
on one tone. 

17636 



31 




After learning the foregoing, the following 3- octave scales will harjjly offer the pupil any difficulties? but he 
should not neglect some good advice with regard to them. Usually it is the third octave(i.e., the highest) which pre- 
sents difficulties. In order to save time, and enable his undivided attention to be given to the intonation, the pupil 
should practise the third octave by itself as directed below. The minor scales in particular, with their raised Hth 
and 7th in ascending and lowered 6th and 7th in descending, are those which give pupils trouble; and to their in- 
tonation special attention should be paid by the teacher. 

The fingerings are, of course, the same as those employed in the full 3-octave scales. 



^k^^flt t^^hi^l 




17636 




-<rr.?=^: 



^ 







A* 



i^ff^i i^ 



tf^ 





17636 



N9 10. 



sa 



The scales through three octaves are to be played in every tempo from Andante to Vivace, and with every 
kind of bowing. The bowings are to be copied from Nos. 2, 4 and 5. 




^^ 



^^^ 



rr r frj- i i^^j i 




f' 'J Jffl^iiE£fl' 



^^:n^i 




^^ 



17636 




^^m 



^^ 







f 





f-'UjrJc^^rf | rf i 



Q^r ^: i i j'f 




17636 



85 



i' ' ' ' > jji J ^ I' 



jff 



i 



# -# 



m 



^^ 




i76a« 




pM 'i j^H^-^ 



^"^^-a 




^ i c:^-^^-ii 



^^ 



^ 






■ ■»■ '■-■0- 



jrj i jT.icj'rff|ffffriJTn ^ 



J 




17636 







ph ^i f fi : tmm^^^itp ^ 






I 



^^ 




ps#i 






« 









^^'1^ !1 ^ 




17636 





t^-^jlffl# 



17636 



ScHiRMER's Library 

of Musical Classics 

METHODS. STUDIES. EXERCISES AND PIECES 

FOR VIOLIN SOLO 



SERIES ONE 



ALARD, D. 




L. 1389 Op. 41. 


24 Etude-Caprices (Lichtenerg) 


BACH, J. S. 




L. 221 


6 Sonatas (Herrmann) 



BERIOT, C. de 

L. 1658 Op. 123. The First 30 Concert Studies (Berkley). 

L. 1086 Metodo para Aprender el Violin 

(Lchmann). sp. Bk. I 

3LUMENSTENGEL, A. 

L. 1032 Op. 33. 24 Studies. 

L. 603 Scale and Arpeggio Studies. Bk. 1: 1st 



L. 604 



Position. 

Bk. II: First 3 Positions. 



BOHMER, C. 

L. 1622 Op. 54. 75 Studies in Intonation (Schill). 

CASORTI, A. 

L. 932 Op. 50. The Technics of Bowing. 



DANCLA, C. 

L. 602 Op. 68. 15 Studies. With accompaniment of a 
2d Violin. 

L. 626 Op. 73. 20 Brilliant and Characteristic Etudea. 

L. 219 Op. 74. School of Mechanism. 50 Daily Exercises. 



DAVID, F. 

L. 1410 



Violin Harmonics and the Pizzicato 
(Smith), sp. e. 



DONT, J. 

L. 1179 Op. 35. 24 Eludes and Caprices (Berkley). 

L. 328 Op. 37. 24 Exercises. Preparatory to the Studies 
of R. Kreutzer and P. Rode. 

L. 429 Op. 38. 30 Progressive Exercises. With accom- 
,,■ paniment of a 2d Violin. 



E R.N ST, H. W. 

L. 1470 



6 Etudes. In Two- to Four-Part Har- 
mony (Auer). 



FIORILLO. F. 

L. 228 36 Studies or Caprices (Schradieck). 

GAVINES, P. 

L-929 24 Studies (Matinees) (Lichtenberg). 

GRUNWALD, A. 

L- 1390 First Exercises (Svecenski). sp. e. 



HERMANN, F. 

L. 952 Op. 20. 100 Violin Studies for Beginners (Mit- 
tell). sp. e. Bk. I: For the Beginning 
of Tuition; L. 953. Bk. II: For the 
Development of Finger- and Bow- 
Technics. 



L. 742 



HOFMANN, R. 



Violin School. Part I. L. 743. Part II. 



L. 863 Op. 25. First Studies. In the First Position. 
Bk. I: The Beginner; L. 864, Bk. II: 
The Progressive Pupil; L. 865. Book 
HI; The More Advanced Student. 



HRIMALY, J. 

t. 842 Scale-Studies. 



KAYSER, H. E. 

L. 750 Op. 20. 36 Elementary and Progressive Studies 
(Svecenski). Complete. 

The same. L. 306, Bk. I; L. 307. Bk. II; 
L. 308. Bk. III. 

L. 867 Op. 67. The Study of the Positions. 34 Short 
Pieces. 



KREUTZER, R. 

L-230 42 Studies or Caprices (Singer). 



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