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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* ^ ^etc. * o-—-— , etc.
pe ,)-p1 p| | ff 1
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^5~tt— 5 ^«^ efc.
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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Copyright, £921, by O, Schirmer, Inc.
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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
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