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Daily Exercises for the Double Bass
Introduction Section 1 Basic Exercises 2 Exercise #1 String
Crossings 3 Exercise #2 Long Tones 4 Exercise #3 Hanging (One
Finger, Vomit, Flesh burn) 5 Exercise #4 Rotation in Shift and
Pivot 6 Exercise #5 Double Stops
Section 2 Rotation, Limbering and Balance 7 "el Perro" 8 "el
Burro" 9 "el Porko" 10 Limbering Exercises 12 Gradus Low 14 Gradus
High 16 Knucklebuster #1 18 Knucklebuster #2 20 Knucklebuster
#3
Section 3 Scale Studies 22 Scale Progressions 24 Area Code
Scales 25 Rosin Lovers Special 26 Jobber's Scale Routine 28
Professional Scale Routine 30 Virtuoso's Scale Routine 33
Variations for Chord Studies and Arpeggios
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Introduction Vibrato sounds best only when it occurs below the
pitch and back up just to the pitch. When vibrato occurs sharp of
the pitch there are no longer any parameters of any exact pitch and
it resembles a wobble more than a musical tone. In order to achieve
any discernable variation in pitch below the note the left hand has
to be in a position to actually roll (or rock) flat of the note and
it is for this reason that left hand technique should be thought of
as trying to go in the same general up and down direction as the
strings, and not coming at them on the right angle. Acceptance of
this principal leads to many wonderful applications of the left
hand namely; 1. Resistance to string friction 2. Retained strength
in hand 3. Inherent rhythm in finger patterns 4. Seamless, accurate
and effortless shifting 5. Rotation allows hand to encompass a
minor third and more 1. Resistance to string friction; When the
fingers try to shift on the strings at right angles they are pulled
out of balance making consistent intonation out of the question.
When the fingers move with the strings they glide easily and are
not pulled at all. As well, the hand can truly be hung off the
fingerboard in every position giving great weight to the hand. No
effort has to be spent holding up the arm. These positions of
hanging are the positions of balance that are absolutely essential
in good playing. 2. Retained strength in hand; the hand stays small
and focused on each note. Keeping the hand closed or small, always
retains its power. Extensions eat up power quickly and they should
be used rarely. A rotation is a movement from note to note; it is
not a stretch that is held in a position like an extension. Even
though the hand is more up and down now and the fingers are not
over top of the notes, the hand can easily rotate to each note as
needed. The faster the speed the less rotation is possible, but the
hand should never be static in a position as if it is some
scientifically calibrated device. The size of rotation varies from
a very pronounced inverted hang for vibrato to the almost
imperceptible wave of an extremely fast passage. 3. Inherent rhythm
of finger patterns; using a rotation lets the forearm participate
in finger motion and even though the fingers do not stay exactly
over top of the notes, the rotation lets very, very fast patterns
be played that are or can be nearly perfect rhythmically. This is
the number one consideration for co-ordination with the bow. Too
much practice time is wasted trying to co-ordinate hands that will
only be together by chance. Rotations allow finger work to be clear
and brilliant. Also, much less time is spent on practicing
passagework. 4. Seamless, accurate and effortless shifting; the
movement of the rotation is also the movement from the wrist that
gives a perfect shifting technique. The movement is the same if it
is a whole tone or an octave; the rotation allows for a landing on
the note and an immediate restoration of balance. The notion of
trying to find a note doesnt exist. It is more like jumping from
rock to rock on a beach. For this reason, switching instruments
with little or no adjustment period becomes the norm.
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5. Rotation allows hand to encompass a minor third and more;
allows more fingering possibilities for musical and technical
solutions. Also makes playing the bass tuned in fifths more viable.
A misunderstood impediment to good left hand technique is the
practice of trying to retain a space between the first and second
fingers in Germanic fingering and between the third and fourth in
Italian fingering. In reality both are quite useable if a rotation
is used and the strongest finger combinations utilized. For
instance, 1 to 3 is stronger than 1 to 2, and 2 to 4 is stronger
than 3 to 4. A double stopped interval is strongest 1-3 and 2-4. I
believe that in a good left hand position if one allows the hand to
relax while covering a whole tone 1 to 4, the semitone in between
the two will actually fall somewhere between the second and third
finger. I think that 1 2 4 is still strongest for chromatic
fingerings and flexibility of rotation. Using a rotation of the
hand from the elbow and wrist allows a player to take advantage of
all the different schools of thought on this subject which is good
since they all have merit. A good modern player should be able to
utilize all his fingers in every position. A good left hand
technique rolls like a ball from note to note, not like a stiff
robot-like stick doing some job in a factory. Just as the left hand
must have the supple flexibility to allow rotations, so must the
right arm and wrist. While the right wrist does not ordinarily
initiate a stroke, its looseness and freedom is the key to allowing
the arms weight onto the bow so that extra downward force is never
applied and the weight used can stay the same most of the time. As
well, the wrist effects all bow changes and articulations. When the
pumping action between the elbow and the wrist can become refined
enough, spicatto at different speeds and dynamics becomes possible.
The opening exercises (1-5) in this method work specifically on
these mechanics. The middle section (Limbering, Gradus, offers a
variety of strength building exercises that should be practiced in
a varied and very moderate manner. The scale routines are
specifically designed to benefit the right wrist and its functions
with the end goal being to perform a variety of spicatto strokes.
Interval and chord study are a vital part of intonation training. I
suggest that one key per week be studied.
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Fingering Explanation I have deviated from traditional fingering
methods for several reasons. I don't believe that having a
fingering over every note is beneficial; in fact, it may lead more
to playing numbers than playing notes. I believe I can convey more
information about left hand movement by actually giving less
information. If no fingering is present, than it means the hand
stays in that position. Sometimes I will indicate a fingering in a
position if what I intend is not obvious, for instance, going into
thumb position in the neck positions. I want to indicate only when
the hand has to change position (shift) or else make some
compensatory move. Because the distance of a minor third can be
covered by a pivot of the hand, I don't consider that a shift, and
do not indicate it with a number. Likewise, in thumb position,
where a distance of an augmented fourth or even a fifth is easily
spanned, I don't usually indicate a fingering. The player has to be
aware of whether or not the hand is in a closed or open position.
For this reason, my fingering system is not the most readily
understood, but with further examination and study, more
information and understanding is available about actual left hand
movements and functions. A pivot is defined by whether the thumb
moves or not. When the thumb (or any other finger) can re-locate
itself into a new position without shifting, I usually mark them,
but without a line. This relates to so-called "crab technique". In
the Chord Studies, exercise III has the thumb adjusting constantly
for instance. 1. A line over a finger number means a shift up the
fingerboard. (toward the bridge) 2. A line under a finger number
means a shift down the fingerboard. (toward the scroll) 3. If no
line is present it means the note is reachable without a shift, but
perhaps with a pivot. (don't move thumb) 4. When the fingerings are
taken in context, it becomes clear what string is intended to be
played. Therefore, I rarely mark the string unless it is really a
choice. (I use roman numerals, I, II,III, IV) 5. With regards to my
interval fingerings; I have chosen to use very few open strings at
the three octave level. Thirds, Fourths and Fifths all play up the
strings until the open string is past. Sixths, Sevenths and Octaves
however start in the first octave
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and a half by being across two strings. Only the upper octave
and a half is played on the top string ( with long shifts) and not
between two strings.
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Section 1Exercise #1 String Crossings
q =60
1. Play this exercise 1.5 to 2 inches away from the bridge. 2.
Always feel like your back is pulling the bow. Pull the string on
it's left hand side for downbows; push on the right hand side for
upbows. Allow your wrist to react freely. Don't lock it! 3. Turn
the stick to make the string change. Keep the hair very close to
each string and turn it with your wrist. Make the movement very
deliberate, small and slow. 4. Resist the urge to press down on the
bow especially on the lower strings. Use only the weight of and
upper body. The strings should speak easily and give the impression
that the notes pop out effortlessly.
3 3 3 3
2
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#2 Long Tones
e =60 or less0000
1. This is single best way to affect change in your playing
habits. It is really important that every facet of posture be
observed here, because the slow playing ingrains habits (good and
bad ones) most effectively.2. Pull and push with your back and
shoulder and play very close to the bridge. Remember Exercise #1!3.
Control the slow relaxed movement of the right wrist in the bow
changes; the sound should never stop between notes. The bow should
stay in exactly the same track from note to note and not suddenly
skip over the string during the change. Constant slow contact!4.
Use no vibrato when you want to find the maximum hanging positions
for each finger on each note. Use vibrato when you want to connect
the different hanging positions and ensure good balance. Use the
rotational shift motion to play with no bumps. 5. The sound should
be as even and full and controlled as possible. Use the slow speed
to try and visualize each successfully executed motion before it
happens.6. Use a diatonic scale if time does not allow for the
chromatic.
1
!!!!
2
4444
0
1
!!!!
2222
4
0
1111
!!!!
2 4444 0 1 2 4444 !!!!
2 4444 !!!! 24444 !!!! 2 3333 !!!!
2
3333
!!!! 2 3333 !!!! 2 3333 !!!! 23333
3333 3333 3333
3333
4444 4444
4444 4444 0
$$$$
4444
3
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Exercise #3/Hanging
q =53A
1. Always pull the bow with your back. 2. Play these exercises
close to the bridge with no force on the bow. Keep the bow moving
as legato as possible and only use the weight of your upper body.
Play forte! 3. Keep your right wrist supple and loose; remember the
bow motions of exercise #1. 4. Your left hand should feel like it
hangs on every note and could be suspended there forever. Make sure
your hand is never at a right angle to the string except on the
fourth finger which should still have some inclination to it. Let
your left hand wrist rotation help you land on the notes after all
the shifts. 5. Do not make the shifts fast or of a uniform speed!
Be aware of using no force or muscle to propel your hand. Each
shift starts slowly and accelerates to the landing; the wrist
rotation allows your hand to land or slide into the note maybe a
little like someone sliding into base in baseball. The notes will
be in tune with no effort or adjustment! Don't hunt for the notes
or guess where they are!
To be played very slowly with very wide non-stop vibrato in the
following finger patterns; 1-1, 2-2, 3-3, 4-4 (1 octave), 4-1 for
exercises A and B. Other possibilities exist. All exercises could
be played in all keys and on different strings.
.
1111
!!!!
1111
!!!!
etc.etc.etc.etc.
One Finger Scale
and back downand back downand back downand back down
q =60
B1111
!!!!
1111
!!!!
Vomit or Sleigh Ride Exercise
1111
!!!!
1111
etc.etc.etc.etc.
q =60/120
C1111
1111!!!!
1111
!!!! 2222
1111
Flesh Burning Exercise
!!!!
1111
!!!! 2222
1111
!!!!
1111
!!!! 2222
1111
!!!!
1111
!!!!etc.etc.etc.etc.
4
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e =53
Exercise #4 Slow Shift and Pivot
1111 3333 !!!!Make all left hand motions slow and smooth. Focus
on using the left wrist rotation tomake the shift upwards and the
3rd finger pull back for the downward shift. Don't lock your
fingersin the pivoting especially between 1 and 3. Don't allow your
knuckles to collapse; it's really bad!
2222 3333 2222 1111 3333 1111 2222 !!!! 3333 1111 2222 !!!! 3333
1111 2222
etc.etc.etc.etc.
33334444
!!!!
4444
3333
3333
etc.etc.etc.etc.
!!!! 2222 4444
0000!!!! 4444
####IIIIIIII
0000 !!!!
####IIIIIIIIIIII
4444
0000
####IVIVIVIV
5
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Exercise #5 Double Stops
1111 4444 2222 4444 2222 4444
44441111
!!!!
!!!!
!!!!
!!!!
!!!!
!!!!
!!!! 4444
!!!! 3333
!!!! 3333
==== 2222 1111 2222 1111 2222
2222++++
!!!! 3333 2222 3333 2222 3333
!!!! 3333 2222 3333 2222 3333
!!!!
etc.
Var.1
1111 4444 2222 4444 2222 4444
44441111
11114444
44441111
!!!!
etc.
Var.
!!!!
2
3333 2222 3333 2222 3333
33331111
11113333
33331111
++++1111
33331111
!!!! 3333 2222 3333 2222 3333
etc.
6
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Section 2"el perro"
++++ 1111 2222 3333
1. Always pull the wrist/arm right back on all the thumb notes
so that the notes are closed with a callous that extends onto the
top edge of your thumb. If left in position for the third finger,
no rotation is possible. The side edge of the thumb only touches on
third finger notes.2. Try and make obvious positions for each
finger through the forearm and wrist. Continousvibrato could be
helpful.4. These next three exercises could be played in all keys
and on different strings.
++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++ ====
1111 2222 3333 ++++ 3333 2222 3333 ++++ 1111 2222 3333 ++++ 3333
2222 ++++
==== 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++
3333 1111 ++++ ==== 1111 22223333 ++++ 3333 1111 3333 ++++ 1111
2222 3333 ++++ 3333 1111 ++++
==== 11112222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++
3333 1111 ++++ ==== 1111 2222 3333 ++++ 3333 2222 3333 ++++ 1111
2222 3333 ++++ 3333 2222 ++++
==== 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++
3333 1111 ++++ ==== 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111
2222 3333 ++++ 3333 1111 ++++
++++ 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++
3333 1111 ++++ ++++ 1111 2222 3333 ++++ 3333 2222 3333 ++++ 1111
2222 3333 ++++ 3333 2222 ++++
++++ 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++
3333 1111 ++++ ++++ 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111
2222 3333 ++++ 3333 1111 ++++
++++ 1111 2222 3333 ++++ 3333 1111 3333 ++++ 1111 2222 3333 ++++
3333 1111 ++++ ++++ 1111 2222 3333 ++++ 3333 2222 3333
++++ 1111 2222 3333 ++++ 3333 2222 ++++++++ 1111 2222 3333 ++++
3333 1111 3333 ++++ 1111 2222 3333 ++++ 3333 1111 ++++
1111
Var.1/2Var.1/2Var.1/2Var.1/2
Var.3Var.3Var.3Var.3
Var.4Var.4Var.4Var.4
Var.5Var.5Var.5Var.5
Var.6 (Paganini Bowing)
Var.7Var.7Var.7Var.7
Var.8Var.8Var.8Var.8
Var.9Var.9Var.9Var.9
Var.10Var.10Var.10Var.10
7
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"el burro"
1++++ 1111 3333 1111 ++++
3333 1111 ++++ ====
2222 3333
====
etc.etc.etc.etc.
====
====
====
====
====
++++
++++
++++
++++
++++
++++
++++
1111
2==== 1111 3333 ====
2222 3333
etc.etc.etc.etc.
3333 3333
etc.etc.etc.etc.
3++++ 2222
3333====
22223333 etc.etc.etc.etc.
22223333
22223333
etc.etc.etc.etc.
Var. 1
Var.2Var.2Var.2Var.2
Var.3Var.3Var.3Var.3
Var.4Var.4Var.4Var.4
Var.5Var.5Var.5Var.5
Var.6Var.6Var.6Var.6
Var.7Var.7Var.7Var.7
8
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"el porko"
0000 1111 2222
4444
1111
3333 @@@@
4444
1111
3333 @@@@
@@@@
@@@@
==== 1111 2222
3333
etc.etc.etc.etc.
++++
and downand downand downand down
Var.1Var.1Var.1Var.1
Var.2Var.2Var.2Var.2
Var.3Var.3Var.3Var.3
Var.4Var.4Var.4Var.4
Var.5Var.5Var.5Var.5 Var.6Var.6Var.6Var.6
9
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Limbering Exercises
10000 1111
Play just a few minutes of these a day and be very careful not
to overdo #9 (extensions). #5 (14) is very helpful.
2222 4444
!!!!
etc.etc.etc.etc.
20000 4444 2222 1111
$$$$
etc.etc.etc.etc.
30000 1111 2222 4444 2222 1111
!!!!
etc.etc.etc.etc.
40000 4444 2222 4444 1111 4444
$$$$
etc.etc.etc.etc.
51111 2222 4444 2222 1111
4444 2222 4444
!!!!
etc.etc.etc.etc.
62222 4444 2222 1111
@@@@
etc.etc.etc.etc.
7
4444 2222 1111 2222
$$$$
etc.etc.etc.etc.
80000 2222 1111 4444
@@@@
etc.etc.etc.etc.
91111 4444 3333 4 (extensions)4 (extensions)4 (extensions)4
(extensions)
1111
4444 2222 4444
1111 4444 2222 4444
only down a minor thirdonly down a minor thirdonly down a minor
thirdonly down a minor third
etc.etc.etc.etc.1111
4444 3333 4 4 4 4
10
-
10
1111 4444 2222 4444 (no(no(no(no
extensions)extensions)extensions)extensions)
1111
4444 1111 4444
1111 4444 2222 4444
1111
4444 2222 4444
etc.etc.etc.etc.
11==== 1111 2222 3333
1111
2222
====
etc.etc.etc.etc.
12++++ 3333 2222 1111
====
etc.etc.etc.etc.
13++++ 3333 2222 3333
++++
3333 1111 3333
++++ 2222 1111 2222
++++
3333 2222 3333
etc.etc.etc.etc.
141111 2222 3333 2222 1111
3333 2222 3333
!!!!
etc.etc.etc.etc.
15++++ 3333 2222 3333 1111 3333
====
====
etc.etc.etc.etc.
16++++ 1111 2222 3333 2222 1111
====
====
etc.etc.etc.etc.
11
-
Simandl Gradus ad Parnassum #21
1111 4444 (3)(3)(3)(3) 4444 1111
4444 1111 4444 (3)(3)(3)(3)
4444 1111 4444 1111
4444 (3)(3)(3)(3) 4444 etc.etc.etc.etc.
C.P.C.P.C.P.C.P.
12
-
13
-
Simandl Gradus ad Parnassum #21 upper octave
1111 3333 2222 ++++
1111 3333 2222
1111 ++++
2222 1111
1111 ++++
2222 1111
++++ 2222
1111
!!!!
14
-
15
-
Knuckle Buster #1
0000 2222
!!!!
1111 3333
!!!!
4444
$$$$
4444
!!!!
!!!!
1111 3333
!!!!
$$$$
4444
4444
!!!!
@@@@
1111
!!!! 3333
$$$$
4444
4444
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
16
-
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
!!!!
4444
4444
$$$$
2222 1111
17
-
Knuckle Buster #2
0000 2222
!!!!
1111 3333
!!!!
4444
$$$$
4444
!!!!
!!!!
1111 3333
!!!!
$$$$
4444
4444
!!!!
@@@@
1111
!!!! 3333
$$$$
4444
4444
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
18
-
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
3333
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222 1111
19
-
Knuckle Buster #3
0000 2222
!!!!
1111 3333
!!!!
4444
$$$$
4444
!!!!
!!!!
1111 3333
!!!!
$$$$
4444
4444
!!!!
@@@@
1111
!!!! 3333
$$$$
4444
4444
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333 !!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
20
-
!!!!
1111
!!!! 3333
!!!!
4444
$$$$
4444
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
$$$$
4444
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
@@@@
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222
1111
@@@@
1111
!!!!
!!!!
4444
4444
$$$$
4444
!!!!
1111
!!!!
!!!!
4444
4444
$$$$
4444
3333 !!!!
1111 3333
!!!!
@@@@
4444
4444
$$$$
2222 1111
21
-
Scale Progressions
3's
1.Play the 3's with three notes in the hand and pivoting. Don't
use the thumb. Play up the string until you get to a clear open
string that takes all the notes.2. Play the 4's as duples, ie. 2
shifts per beat. Play up the string until the figure sits entirely
on a new open string.3. Play the 5's with combinations of 3's and
2's. The formula is dependant on the harmony;I = major (2&3),
II =minor (3&2), III = minor (3&2), IV = major (2&3), V
= major (2&3), VI = minor (3&2), VII = diminished (either,
2&3 is better).4. Play 6's as three groups of 2's except; play
4 & 2 when you have an open string. When you play the III, VI,
and VII degrees of the scale, they can easily be played as two
groups of 3's. Groups of 6 that start in the thumbposition could
all be groups of 4&2 or 2&4. The group of 4 should always
start with the thumb. 6's could be played with 2 groups of 3,but
playing two groups of the major third pivot in a row is most
perilous! (except in thumbposition) 5. Play 7's as you played 5's;
I = (2&3&2), II = (3&2&2), III = (3&27&2),
IV = (2&3&2), V = (2&3&2), VI = (3&2&2) and
VII = (either, 2&3&2)6. Groups of 8 could be 4 groups of
2's like the 6's and as well the III, VI, and VII degrees could be
played 3&3&2. Thumbposition could be 2 groups of 4.7. Play
scale progressions in all keys, both legato and slurred staccato.8.
Should any of the 3's in the major third spans prove too difficult,
then play 1-1-4/4-4-1 or 1-1-3/3-3-1 or else use thumb.9. THE SPEED
OF ALL THE NOTES IS THE SAME! triplet
eighth=sixteenth=fivelet=sextuplet=thirty second notes
0000 1111 4444
1111
3333 4444
!!!!
etc.etc.etc.etc. 2222 4444
0000 1111 4444 !!!! 2222 4444 1111 3333 4444 4444
1111 2222 4444 1111 2222 4444 !!!! 3333 4444 !!!! 2222 4444 !!!!
2222
4444 !!!! 2222 3333
!!!! 2222 3333
!!!!
2222 3333
!!!!
2222 3333
!!!! 2222 3333 !!!! 2222 3333 !!!! 2222 3333
!!!!2222 3333 !!!! 2222 3333 !!!! 2222 3333 !!!! 2222 3333
4's0000 1111 2222 4444
1111
4444 !!!! 4444
4444 !!!!
etc.etc.etc.etc. 3333 !!!! 4444
3333
0000 1111 !!!! 4444 1111
1111 4444 @@@@ 4444 !!!! 4444 !!!!4444 4444 1111 3333 !!!! 4444
3333 !!!! 4444 @@@@ 4444 4444
!!!! 4444 !!!!
4444 4444 !!!! 3333 !!!! 4444 3333 !!!! 4444 !!!! 3333 4444 !!!!
4444 @@@@ 3333 4444
!!!! 3333 @@@@ 3333
4444 !!!!
2222 !!!! 3333
2222
!!!!
3333 @@@@ 3333
3333
!!!! 3333 !!!! 3333 3333
!!!! 2222 !!!!3333 2222 !!!! 3333 !!!! 3333 3333 !!!! 3333 @@@@
3333 3333 1111 !!!! etc.etc.etc.etc.
22
-
5's0000 1111 !!!! 2222 4444
1111 1111
3333 4444 !!!! 4444
4444
!!!! 2222 4444 !!!! 4444 4444 0000 1111 !!!! 3333 4444 1111
5
1111 4444 !!!! 22224444 4444 !!!! 3333 4444 !!!! 4444 4444 1111
3333 !!!! 3333
4444 3333 !!!! 4444 !!!! 2222 4444 4444
!!!! 3333 4444
!!!! 4444 4444 !!!! 2222 4444 !!!! 4444 !!!! 4444 !!!! 22223333
4444 !!!! 4444 !!!! 2222 3333 4444
!!!! 2222 3333 !!!! 3333
3333 !!!!
2222 3333 @@@@ 3333
3333
!!!! 3333 !!!! 2222 3333 3333 !!!! 2222 3333 !!!! 3333 3333
!!!! 2222 3333!!!! 3333 3333 !!!! 3333 !!!! 2222 3333 3333 1111
!!!! 3333 1111 !!!! 3333 etc.etc.etc.etc.
6's0000 1111 3333 4444 !!!! 4444
4444 1111
4444 !!!! 4444 !!!! 4444
4444 4444
!!!! 2222 4444 !!!! 3333 4444 4444 0000 1111 3333 4444!!!! 4444
4444 4444
6
1111 4444 !!!! 3333!!!! 4444 4444 4444 1111 3333 4444 !!!!
3333
4444 4444 1111 2222 4444 !!!! 22224444 4444 !!!! 4444 !!!! 3333
!!!!
4444 4444 4444
1111 3333 4444
!!!! 2222 4444 4444 !!!! 2222 4444 !!!! 33334444 4444
!!!!
4444 !!!! 3333 !!!! 3333
3333 4444 !!!!
4444 !!!! 2222 !!!! 3333
3333 4444
!!!! 2222 3333 !!!! 2222 3333
3333
!!!! 2222 3333 !!!! 2222 3333
3333 !!!! 3333 !!!! 2222 !!!!3333 3333 3333 !!!! 3333 !!!! 2222
!!!! 3333 3333 3333
!!!! 2222 3333!!!! 2222 3333 3333 1111 !!!! 3333 1111 !!!!
3333
1111
!!!!
3333 etc.etc.etc.etc.
23
-
Area Code Scales
246246246246
Any combination adding up to 12 willAny combination adding up to
12 willAny combination adding up to 12 willAny combination adding
up to 12 willwork. eg.345,831,255)work. eg.345,831,255)work.
eg.345,831,255)work. eg.345,831,255)
6 6
6 6
462462462462
6 6
6 6
624624624624
6 6
6 6
642642642642
6 6
6 6
426426426426
6 6
6 6
264264264264
6 6
6 6
24
-
Rosin Lovers Special
Slowly
25252525
1 2
3 4 5 6
3 3 3 3
7 8 9 10 11
3 3
12 13
14
15 16 17 18
19 20
21 22 23 24
25
26 27 28 29 30
31 32 33 34
3 33 3
35 36 37 38 39
40 41 42 43 44
45 46 47
48 49 50
51 52 53 54 55
repeat 51-55 with separate bows
-
1The Jobber's Bowing Exercises (2 octaves)q =60 2 3
3 3 3 3
4 5 6 short, on string
7 8 9 3 3 3 3
10 11 12 13 legato
14 15 16
17 18 19
20 21 22
23 24 3 3 3
3
q =8025 26 27
30
-
q. = 8428 29 30 31
32 q = 100-12033 34 35
36 37 38
39 q =87+40 41
42 43 44
45 46 47
spiccato
48 49 50
51 52 3
53 54
31
-
1 q =60-80
The Professional's Bowing Exercises (3 octaves)
2 3 3 3 3 3
4 5 6 3 3
7 8 9
short, on string
10 11 12 3 3 3 3
13 14 15 3 3
16 17 18 19 legato
20 21
22 23
24 25
26 27
28
29
32
-
q =108-12030 31 32 33
frog tip frog tip
3 3 33
q. =96-10434 35 36 37 Beethoven 7 (repeat with no slurs
34-38)
38 q =110-12639 40
Fast (repeat with no slurs 39-41)
41 42 43 44
q =110-13045 46 47
48 49
50 51 52
53 54 55 spiccato 3
56 57
58 59 60 ricochet
6 6 6 6 3
33
-
1 q =80-100
The Virtuoso's Bowing Exercises
2 3 3 33 3
4 5 6
7 8 9short, on string
3 3
3 3
10 11 12 legato
13
14
3 3 3 3
15 16
3 3
17 18
19 20
21 22
23 24
34
-
25 26 27
3 3 3 3
28 29 30
31 32
6 66
6
33 34 35
3 3
33
36 q =104+37 38 39
frog tip frog tip
40 41 42 43
44 q =144+45 46
47 48 49
50 51 52 53
q =126+54 55
35
-
56 57 58
59 60 61
62 63
64 65 3333
3333
3333 3333
66 67
68 69
q =132+70 71 72spiccato
3 3
73 74 75
3 3
76 77
78 79 6 6 6
66 6
66
36
-
1Variations for Chord Studies/Arpeggios
2 3Chord StudyChord StudyChord StudyChord Study
4 5 6
7 8 9
10 11 12
13 14 15
16
17 18
three note patterns
19 20 21
22ArpeggiosArpeggiosArpeggiosArpeggios
23
37