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Vol. 1413

SEVCIKOpus 7

PREPARATORYTRILL STUDIES

(Estudios Preparatories de Trino)

For the Violin

(Svecenski)

In Two Parts

PART I

HEINDSELM^N MUSIC CO.Musk - imtruntnis Supplm

120 W. Center - Provo, Utah

OUlON COf>*«MT» •••«.«« SCHIMMCft

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Harold B. Lcc Library

Gift of

Harold R, Laycock

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Schirmer's Library of Musical

Classics

Vol. 1413-4

OTAKAR SEVCIKOpus 7

PREPARATORY TRILL STUDIESFOR THE VIOLIN

For developing the touch and strength and surety of the fingers

Edited by

LOUIS svecenskiIn Two Parts

PART I

Exercises in the First Position

PART II

Exercises in the Second, Third, Fourth, Fifth and Sixth Positions

ESTUDIOS PREPARATORIOS DE TRINOPara Violin

Para el desarrollo del tomamiento y fuerza y seguridad de los dedos

Editado por

LOUIS svecenski

En dos tomos

PARTE I

Ejercicios en la primera posici6n

PARTE II

Ejercicios en la seconda, tercera, cuarta, quinta y sexta posicion

NEW YORK : G. SCHIRMER, INC.Copyright, 1921, by G. Schirmer, Inc.

Printed in the U. S. A.

AL DISClPULO

La practica del trino debe incluirse

en la obra tecnica del diario por el

discipulo del violin, no solamente por

el trino, sino para el desarrollo de unmovimiento exacto y seguro de los

dedos en general.

La dificultad en obtener un trino

claro y resonante en la mayor parte

de los casos se aumenta por unadefectuosa posicion de la mano ylos dedos que puede corregirse si

el discipulo observa fielmente las

siguientes instrucciones.

Antes de empezar a tocar el ejerci-

cio deben colocarse los dedos sobre

los tonos indicados por las notas ne-

gras sin plica, y despues de haber

asegurado su verdadera entonacion,

los dedos deben mantenerse sobre las

cuerdas por lo menos un minuto,

siendo esencial que el discipulo, du-

rante este intervalo, fije los ojos sobre

la mano y los dedos. Al empezar el

ejercicio los dedos deben alejarse de

las cuerdas sin cambiar la posicion en

que estaban cuando sobre los tonos

indicados.

Practiquese el trino despaciosa-

mente con cuidadosa atencion a la

uniformidad del movimiento de los

dedos y ensayese la calidad y claridad

del trino en piano y aun en pianissimo.

Es de suma importancia retener

los dedos en su lugar segun se indica

por la linea amparando la obra de los

dedos, y el discipulo debe tener muypresente que unicamente siguiendo

estas indicaciones podra derivar

beneficio completo de estos ejercicios.

Anotacion.—Estos ejercicios pre-

paratories de trino deben darse al

discipulo encuanto este listo para

empezar el estudio del primer libro

de Kayser, Op. 20.

Louis Svecenski.

TO THE STUDENTThe practice of the trill should be

included in the daily technical workof the Violin Student, not only for the

trill itself, but also for promoting the

development of accurate and reliable

finger-action in general.

The difficulty in obtaining a clear

and ringing trill is increased, in most

cases, by a faulty position of the handand fingers, which may be corrected

if the student will faithfully observe

the following instructions.

Before beginning to play the ex-

ercise the fingers should be placed on

the tones indicated by black note-

heads, and, after having made sure of

their true intonation, the fingers

should be kept on the strings for at

least one minute, during which time

the student's eyes should be fixed uponhis hand and fingers. When ready to

start the exercise, the fingers should

leave the strings without changing the

position in which they were kept while

on the tones indicated.

Practise the trill slowly, with close

attention to the evenness of the

finger-movement, and test the tone-

quality and clarity of the trill in

piano and even pianissimo.

To retain the fingers in their places

as indicated by the line following the

fingerwork is of the greatest impor-

tance, and the student should be con-

vinced that only by following these

instructions can full benefit be de-

rived from these exercises.

Note.—These preparatory Trill

Exercises should be given to students

as soon as they are ready to begin the

study of the first book of Kayser's

Op. 20.

Louis Svecenski.

AVIS A L'ELEVE

L'eleve consacrera une partie dutemps a l'etude du trille dans le

travail journalier de la technique duviolon et cela non seulement pour le

trille en lui-meme, mais aussi pour la

dexterite des doigts en general.

En beaucoup de cas la difficulte

pour obtenir un trille sonnant claire-

ment est augmentee par la mauvaiseposition de la main et des doigts;

pour reduire cette difficulte au mini-

mum l'eleve observera avec soin les

instructions suivantes.

Avant de commencer a jouer l'exer-

cice, les doigts devront etre places

sur les sons indiques par les notes

noires, et apres s'etre assure de la

parfaite justesse, l'eleve gardera les

doigts sur les cordes au moins uneminute durant laquelle il aura les yeux

fixes sur la main et les doigts. Com-mencant l'exercice, les doigts devrontse lever des cordes sans changer la

position dans laquelle Us etaient tenus

quand Us etaient places sur les sons

indiques.

II faut travailler lentement avec

l'attention fixee sur 1'egalite des

mouvements du doigt et il faut cul-

tiver la clarte et la qualite de son

du trille dans les nuances piano et

pianissimo.

La tenue correcte des doigts etant

d'une tres grande importance, l'eleve

devra se convaincre que ce sera seule-

ment en suivant ces instructions a

la lettre qu'il parviendra a en tirer

tout le benefice possible.

Nota.—Ces exercices preparatoires

pour le trille devront etre travailles

par les eleves aussitot qu'ils seront

prets a commencer l'etude du premier

livre de Kayser, Op. 20.

Louis Svecenski.

30092-109

HAROLD 8. LEE LIBRARYBRIGHAM YOUNG UNIVERSITY

PROVO. UTAH

Estudios Preparatories

de TrinoEn la primera posicion

Parte Ia

PreparatoryTrill Studies

In the first position

Parti

Exercices Preparatoires

de Trille

Dans la lr_e position

Partie Ire

Edited by Louis Svecenski

Semitono: 1-3 dedo

Practiquese este ejercicio en las

seis siguientes maneras.

Semitone: fingers 1-2

Practise this exercise in the

following six manners:

Otakar Sevcik.Op.7

Demi -ton: 1-2 doigt

On travaillera cet exercice des six

manieres suivantes:

Aetc. ^ Qi i i I* ^ êtc. * o-—-— , etc.

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Coloquense los dedos sobre las tres notas negras antes de empezar este ejercicio.

Place fingers on the three black notes before beginning this exercise.Placez les doigts sur les trois notes noires avant de commencer cet exercice.

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Lift the finger well and let it

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** The fingers to be kept on the

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VIOLIN SOLOS, METHODS AND EXERCISESCONTAINED IN

SCHIRMERS LIBRARY OF MUSICAL CLASSICS

©

Vol. No.

48/49 ALARD, D. Op. 10. Ten melo-

dious studies, with accompaniment of a secondviolin in score. 2 vols.

1389 Op. 41. 24 Etudes-caprices. Ed-ited by L. Lichtenberg

221 BACH, J. S. Six sonatas. G m.,

B m., A m., D m., C, E. (E. Herrmann)

1086 BERIOT, C. de. Metodo paraviolin (Spanish) (Lehmann). Vol. I

1032 BLUMENSTENGEL, A. Op. 33.

24 studies

603 Scale- and arpeggio-studies. Book I.

In the first position

604 The same. Book II. In the first

three positions

744/745 BOHMER, C. Op. 54. 75 studies

in intonation. 2 vols.

932 GASORTI, A. Op. 50. The tech-

nics of bowing

602 DANCLA, C. Op. 68. 15 studies,

with accompaniment of a second violin in score

626 Op. 73. 20 brilliant and character-

istic etudes

219 Op. 74. School of mechanism. 50daily exercises

1410 DAVID, F. Violin harmonics andThe Pizzicato (Sonidos Armonicos del Violfn yEl Pizzicato) (Smith). (English and Spanish)

1179 DONT, J. Op. 35. 24 etudes andcaprices

328 Op. 37. 24 exerciser preparatory to

the studies of R. Kreutzer and P. Rode

429 Op. 38. 20 progressive exercises,

with ace. of a second violin in score

1470 ERNST, HEINRICH W. Sixetudes for solo violin, in two-part to four-partharmony. Edited by L. Auer

228 FIORILLO, F. 36 studies or ca-prices (Schradieck)

929 GAVINIES, P. 24 studies (mat-inees)

1390 GRUNWALD, ADOLF. First ex-ercises. Edited and fingered by L. Svecenski.(English and Spanish)

952/953 HERMANN, FR. Op. 20. 100violin studies. Part I 'for the beginning oftuition); Part II (for the development offinger and bow technics)

742/743 "iolin-school. 2 vols. Vol I;

Vol. II

Vol. No.

863 HOFMANN, R. Op. 25. Thefirst studies in the first position:

Vol. I. The beginner

864 Vol. II. The progressive pupil

865 Vol. III. The more advancedstudent

884/886 Op. 51. 24 studies. Continuationof the preceding, introducing various posi-

tions. 3 vols.

887/888 Op. 66. 22 studies for the use of

advanced players, employing the second, third

and fourth positions. 2 vols.

1076/77 Op. 107. Technic and melody. 50studies in the first position and in all keys.

2 vols.

842 HRIMALY, J. Scale-studies

750 KAYSER, H. E. Op. 20. 36elementary and progressive studies. Intro-

ductory to the celebrated studies by R.Kreutzer. (Louis Svecenski.) Complete

306/308 The same, in 3 vols.

513 Op. 44. 50 short exercises

867 Op. 67. The study of the positions.

34 short pieces for the study of the second,third, fourth, fifth and seventh positions, andthe half-positions

1078/79 KOHLER, M. Op. 51. 30 little

studies for the second third, fourth and fifth

positions. 2 vols.

230 KREUTZER, R. 42 studies or

caprices (Singer)

937bowing

KROSS, E. Op. 40. The art of

487 MAZAS, F. Op. 36. 75 melodiousand progressive studies (F. Hermann). Vol. I.

30 special studies

488 Vol. II. 27 brilliant studies

489 Vol. III. 18 artist's studies

1258/59 Op. 36. 40 selected studies

(Franko). 2 vols.

1040 MEERTS, L. J. The mechanicsof the violin (Leopold Lichtenberg) (English

and Spanish)

449 RIES, H. Op. 28. 30 elementarystudies in the first, second and third positions

231 RODE, P. 24 caprices (studies), in

the 24 major and minor scales (David)

1433 12 etudes. Ed. by L. Lichtenberg

759 ROVELLI, P. Op. 3 and 5. Twelvecaprices (Lichtenberg)

109/110 SCHOEN, M. Op. 22. First stepsin practical violin -playing. Scales and lessons

in the first position. 2 vols.

108 Op. 32. The A-B-C of violin

playing

Vol. No.

1397studies.

364

515

ChordSCHRADIECK, HENRY.Edited by L. Svecenski

Scale-studies

The school of violin-technics. Vol I.

Exercises for promoting dexterity in the vari-

ous positions

516 Vol. II. Exercises in double-stops

517 Vol. III. Exercises in the different

modes of bowing

396/397 SCHUBERT, L. Op. 50. Violin-

method. 2 vols.

844 §EVCfK, O. Op. 1. School ofviolin technics. Edited by Philipp Mittell.

Vol. I. Exercises in the first position

845 Vol. II. Exercises in the second toseventh positions

846 Vol. III. Shifting (changing theposition)

847 Vol. IV. Exercises in double-stops

1182/83 Op. 2. School of bowing technic.

Part I. Sections 1, 2

1413/14 Op. 7. Preparatory Trill Studies.

Edited by L. Svecenski. 2 vols.

848 Op. 8. Shifting (changing the posi-

tion), and prepaiatory scale-studies (Mittell)

849 Op. 9. Preparatory exercises in

double-stopping in thirds, sixths, octaves, andtenths (Mittell)

871

872

873position)

1084

SITT, H. Op. 32. Etudes:

Vol. I. 20 etudes (1st position)

Vol. II. 20 etudes (2d-5th position)

Vol. III. 20 etudes (change of

Scale studies (Mittell)

1457 TOURS, BERTHOLD. The vio-

lin. A complete method. (Eng. and Span.)Edited and translated by A. di Butera

1307 WEISS, J.

flowers. CompleteOp. 38. Harvest of

1392 WICHTL, GEORG. The youngviolinist. Op. 10. With supplement includ-

ing PleyeFs duets, Op. 8. Edited and fingered

by F. L. Smith. (English and Spanish texts)

184/185 WIENIAWSKI, H. Op. 18. Eightetudes-caprices, with a second violin in score

(Lichtenberg). 2 vols.

1404 WOHLFAHRT, FRANZ. Op. 38.

Easiest elementary method for beginners.

Revised by F. L. Smith. (Eng. and Span.)

Op. 45. 60 studies (Gaston Blay)

:

First position

Third position

40 elementary exercises

50 easy melodious studies

in progressive order. 2 vols. Part I (first

position); Part II (third position)

838 Vol. I.

839 Vol. II.

926 Op. 54.

927/928 Op. 74.

METHODS NOW PUBLISHED IN THE SCHIRMER EDITIONBERIOT, C. de. Method (English) 2 volumesDANCLA, C. Op. 52. Elementary and progressive

method. CompleteThe same. 2 volumes

HOHMANN, C. H. Practical method. A system-atically arranged course of exercises for a thoroughgrounding in violin-playing (Mittell). Complete

The same. 5 volumes

A573

G. SCHIRMER, INC., NEW YORK

BRIGHAM YOUNG UNIVERSITY

3 1197 20563 9534

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ULU 0,? ONOV 2 9 2010

OCT 9 2012

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