PART OÌ.

{E- LeÍt ïfand

Vertical Movement
(Trill Motion)

Direction,fo, Pr""iì"",
1. Whenplacingthe fingersdown,touch the stringlightly, but in one moüon.
2. Lift the entire finger springlikefrom the knuckleroot.
3. Direct greatestattention to the lifting feeling.

Adagio

EXPLANATION: Sincc the forcr: of gravity exerts a downwardpull on úe fingers toward the fingerborrd,the
downmovemcntis relativeÌyeasyto pcrform. Lifting the finçr awayfrom üe fingerboardrequiresa puü against
gÍavity.ConccntrÂtionon this lifting movcmcntwill aid in strengtheningthe fingers.

hacticiüs t,.e vtole - 24

üGaLA DE aoslcA DA 'FMG - lllltolr*

 Horizontal Movement
(Chromaüic
Motion)

Directions for Practice:

l. During the "sliding" movement,usevery light pres$,rreon the rnoüngfinger.
2. Except for the sliding finger, keep all fingers in place (firmly).
3. Play this exerciseveqyslowly and softly

THISEXERCISEONLY 5 MINUTESPERDAY
PRACTICE
Slowly

prY 2 3-3'.3-3-3-3-3 -{-4-1-4-4- 0l-t-l.t-t-l-r

-
-
Y -
2 3-3.3-3-3-3-3

-
- -
2 3-3-3-3-3-3-3

,ffin

EXPLANATION: The finger tips must be made strong and flexible by the practiceof movementsin eveqTpos
sible direction. This exercise,with the first and fourth, given in this book, will developa responsiveness and
elasticstren$h of the fingers.All three movement"s are necessaryfor a complete development of fingercontrol.

hacticing the Viola - 24

 III
Honzontal Movement
ClVristmy)

Directions for Practice:

l. Rest the tip of the left thumb, at the nail joint, against the neck of the Viola.
2. AU fingers are removed from tJrefingerboard except the "soüiiding" one.
3. This section is done with A Hand Motion (active wrist).

2 3-3-3-3-3-3-3 3 4.4-4-4-4.4-4
I 2-2-2.2-2-2-

- -
2 3-3-3-3.3-3-3 3 4.4-1-1.1-1.4

0 l-l-l - l-l-l-l L 2 -2-2-2-2-2-2

,Gtffi

offitrffiz ,ffi33ffi+

2 3 -3-3- 3-3-3-3

EXPLANATION: This t:xt:rt:isrr

is intcndt:dto strr:ngúcnthc wristandmakeit flexiblein preparation
for proper
shiftingandvibrato.

Èacticing the Viola - 24

 IV
Pizztcato
(Left Eand, -Bight Eanil)

Directione for Prscticer

l. Thiéfinger which picks, tr.avelsonly úe digtanceto úe next sttìng. (Like a sÌrort jab).
The plucked eound with either hand must be loud andpirtot+ha1p. Pluck with auúority, wiú the left hand par-
ticularly,
2. After plucking the fiÌst note, sllore úe ìeft hand fingers to rest lightly relaxed againstthe sbing, withort presaue
to the fingerboard.
3. After resting, pressboth fingers of úe left hand in one motion (the plucking finçr and the note to be sounded)
and immediately pluck the note indicated üth the left hand finger.
4. Do this exerciseon a different sning daily.
CAUTION: Do only a few notes eachday until the finçrs are conditioned to úe left haail pizzicato.

NOTE, pizz. = pluck with úe right forefinçr,

LH.
d+ = pluck úth the 4th finger of the left hand,
The number úove the line indicates the finger which plucks the suing.
Tho number next to the note indicates úe finger which stops úe eÈing.

PLAY ONLY ONCEDAILY

- n.H.
rì Pizz.

EXPLANATION: To be strongandmpple, the fingersof the left handmust be exercisedin all possibledirections
This long neglectedfinger movement,so essentialto the developmentof the left hand technique,contributes to
the full dweloprnentof the muscletone. This exerciseshouldbe practicedin conjunctionwith shrdiesNo. I and
No. 2.
 Y
Left Arm B alance

Directionsfor Practice:
l. Concentrate
on the Left Elbow.
2. WhenpÌayrngon the lower strings,the elbow must be well underthe instrument.
3. On the higherstrings,the elbow shifts slightly and easilyto the left.
4. Theleft arm must be free to move and the elbow is the guide.

hacticing t}le Viola - 24

DA UFMG- BIEIIETEE..
EBEü"ADÉffiOSICÂ
t0

EXPLANATION:Just ssúe right arm hasa different level for eachsking playedon, so too hasthe left arm. This
slight motion of the left elboi releasestension in the shoulderjoint and frees the entire arm. The úift allon's úe
filigers to fall squarelyand eçally on all enings, enabling the fingers to be completely balanctrdon whichever note
is being played.
NOTE: This exerciseis intencledonly to bring the free movemcnt of thc left elbow to the attention of the student.
Whenperforming, forget úis artificiaÌ moveÃent of the elbow and play naturaüy in the most comfortúle position.

xi

hactlclÃg the Viola - 24 ,i,

-*
rG
 ll

YI
Note Finrting

Directions for Practice:

l. Without any preparation, approach the string with the bow and úe finger at the 6ame time.
2. During the rest, relax the left hand. Remain in the first position and think the next note.
3. If the high note is missed, do not adjust. Go back and try again.No slide.
4. Hit úe note "clean" from the air. Always down-bow.
5. At random choose a different note each day. Play the same note with any one finger on each string.

n4
E I (E)= rl R
I .a- A
íar Io. /ï\ tr s.

q
.4.
u? Iv?

EI
J
I (D) .o.

t,
I 1c1!È

n2 tã
] a

íL I .O-

n
nI I tsl dr
:
+>

n
nii IVT

EXPLANATION: The left hand will naturatly &ìsum€ a correct position when the string is approached without
prcparation.This r:xcrciscis for tho d(:vdopmi:ntof the left arm in co-orünation with ear training.

Practicing the Viola - 24

L2
\rII
Left Hand Facility

Directions f or Practice:

SECTIONA
L Playvery slowly with full tone and full vibrato' if possüle.
2. Direct mentalattention to the balancingof úe entire arm and hand on the playing finger. (Mentally "sit" on the
playing finger).
3. Keepfingersdown whereverposible.
4. Play SectionsA and B úthout pause.
SECTIONB
l. Light fingers, light bow.
2. Play asfast aspossibleúth continuous repetition. Each player to play to the limit of his own technical ability.
3. Slightrhythmic impulseon the first note of eachgroup of 4.
NOTtr; This exerciseshould be practicedon all strings,usinga differentstring daily. The player may follow úe
sameprocedurewith any group oi four noteewhich aú on the samestring.Groupstaken from repertoiremay be
pracücedin a similaÌ manneÌ.

@r,o*,, @n. fastaspossible

ell playing Íingers.

EXpLANATION: SectionÀ is an aid to the dovelopmentof thc ftrding of equal balanceon
(Equalweighton atl fingers.)This helpsin the proper stoppingof thtr string'
and over again in a clean,
A true test of technicel command of the left hand is the ability to repeat a pattern oveÍ
rhythmic, controlled manner.

hacticinS the Vioh - 24

 t3
vIII
Yibrato Exercise

Directions for Practicer

L Do not usethe bow.
2. Placeúe left hand lightly in the thüd position. Rest the neók of the instrument against the thumb at úe nail joint
(to act aspivot).
3, Fingersto touch the string with light Ílaçolette presore. (Harmonic pressure).
4. Travel along the string r\thmicaÌly with a wrist movement. Section A slowly, and Secüon B very fast. Go from
the slow measlres to the fast wiúout a pause.
5. Do úth all fingers on all strings. Choosea different string daily.

3-) <3,=i
-!-IL-^-IL- ^-

I - I - I -,1
--_----

EXPLANATION:Thevibratorequiresimpulsefrom a flcxible wrist.The arm may move but only in reflex action.
With the thumb acting as a pivot, the wrist is free to move.Light fingerson the string allow the first joint of the
fingersto flex back and forth. Notice this while practicingand duringthe movement,striveto allow the first joint
completefrtx:domof movcmcnt.

Practicing the Viola - 24

' BitsI.IãTEËI
ESSBLAEE ffiOSICAA'â. UFT#G
14

PART TWO-BowArm
IX
Broad Detache'

Detachd. . meaning separate or detached. As used here it meansa seriesof up and down bows played without
accents,as smoothly as possible.

Directionsfor Practice:
I. The bow is held naturallywithout greatpressure.
2. The handis alwaysheld in a "natural droppedposition", below the level of the forearm. (seedrawing).
3. The bow is alwayspulled . . . both on down bow anclup bow.
4. The thumb is flexible. It is not alrvaysbent, not alwaysstraight.Let it yield.
5. The strokeis acüvatedby the lower part of the forearm.
6. AH movements of the fingerson the bow arepassive.
7. The changeof bow is fluid (tikt the endsof a movingpaint brush).
B. Practiceat lower half . . upper half . . and ivith the whole bow.
Usereversebowings,that is commencethe first note with anup bow.

Practicing the Viola - 24

 T5
EXAMPLE

EX'PLANATION:Thc detachJis a basicstroke. Most other bowingsare a variantof this basicmovement.It must
be extruted smoothlyboth duringthe strokeand at the changes
of bow.

Practici'g the Viola - 24

16

Fast Detache'

Direcüons for Practice:

freely.
I. The fast detachd is done with a hand movement. The wrist moves
2. Feel as if playing a seriesof down strokes'
at all times (at all parts of the bow)'
3. The hand is dropped naturally below the level of the wrist
4. Feel the weight of the first finger of the right hand on the bow.
5. PIay on the side of the bow- (not with flat hair)'
6. Absolutelyno bounceof the bow . . particuìarlyat the middle'
I t-

t
?. Practiceat the frog-point and middle.Always a hand movement.
a = aaÒa
0

As fast asPossible

NOTE:This bowing is easiestto pl"y just abovethe middle of the bow'

PracticinS the Viola - 24

 t7

Spiccato (Brow)
Spiccato. . . refers to a springing sound in which the bow leavesthe string at each stroke.

Directionsfor Practice:
I. Theslow spiccato'isactivatedby the forearm.(lower part).
2, The whole Íum movesas a unit with blightimpulseon the up stroke.(aidscontrol).
3. Takebow off the string at eachstroke.Hit the stringwith the bow.
4. Control is bestachievedstightly below the middle of bow. Wristis flat.
5. Bow hair is flat. The wood directly over the hú.
6. Forearmparallelto the floor. Practicebeforea mirror.

)=no
Vn Vn
NV

EXPLANATION:The slow spiccatois one of the few strokeswhich is doneúth a firm (not stiff) right arm. This
is so becausea bouncingbow must have a firm qrrface againstwhich to bounce.When done nearthe frog, the
wrist doesenter into the stroke and when done at the frog, the spiccatois donewith the wrist only. When done
at the middle usevery little wrist movement.

Fracticing the Viola - 24

DA UFMG- BIILIOTI;'
ITG&A DÉITOSICA
IB
XII
Sautille
(Fast Spicceto)

@'kippi"gmotion.Referstofastspiccato.Bowdoesnotleavetheshing,butseemsto,
causedby bow bouncing against the hú.

Directions for Practice:

l. Very Ìight hotd - bow flat - wrist flat' arm parallel to the flooÌ.
2. Hand motion. (Active wrist . . . arm movement in reflex only.)
3. Do not lift the how off the atring. Allow the wood of the borv to give the illusion of leavingthe sring by bounc'
ing againstthe hair.
I
Õ
4. Bestpart of the bow to executethis strokeis uzually tlryhtly abovethe middle. Ç
a

EXPLANATION: The fast spiccatomust be distinguishedfrom the fast detacheí

The spiccatois bouncing. . . . The detachdissmooth.
The spiccatois playedinto the string . . . . the detachdisacrossthe string.
The spiccatois playedwith the bow-hairflat . . . . the detachdonthe sideof the bow.
In spiccatothe wrist is flat . . . . in detache'oneusesa "dropped wrist".
In spiccatothe elbow is lower . . . . in detachdthe e.lbowis somewhathigher.

hacticing the Viola - 24

 r9
XIII
Attack
Directionsf or Practicer
l. To makethe attack,pinch the bow with all fingers.Make"bite" úarp, The note must ring,
2. Releasehold immediately after pinching the note and draw the bow directly ìo the spot where the next note is
played. No pressrre during stroke. Keep bow in contact üú string during thoke.
3. No bounceduring the bow stroke . . loosenfinger hold duringmovement.
4. Whenplaying wholebow stroke, úere will be a whistling effect.(ponticello).
5. Reversebowingsandplaf up bow wheremarkeddown.

EXPLANATIONTThis exrrcisc is for the purposeof developinga úarp attack, which is producedby the useof
úc fingcrs alonc, with no help from the arm. The arm is also trained in the whole bow movement,to find the
"track" it must follow to devtdopa smooú line from frog to point.

PracÉici.ngthe Viob - 24
20
XIV
Martele'

'.
il . . ."*i* f,".r,'nãrecl. Said of notes struck with speciaÌforce and played shorter üan the time indicated.

Directions for Practice:

I. MartelJis a seriesof short up and down strokesplayed at the point of the bow'
2. At first, pÌay with the thumb and first finger orüy. Active wrist movement'
úe presure immediately'
3. Placeall fingers on üe bow, pinch úe bow with the üumb and index finger, úen release
as when playing with the tlumb and first
4 When the oüer fingers are plaeerl upon the bow, feel the sameeffect
finger only.
Notesmay be markedwiú dots or/2.

Vury slowly
At the point
n

í"frf'fr fr íb'íb fF
í, í8 f" fã

Practicethis bowing with all scalesand chords'

hacticing the Viola - 24

 2L

LarEfeString Crossing

Directionsfor Practice:
1. The right elbowleadsthe string crossingwhen one or more stringsare crossed.
2.Play at a very slow tempo, but cros{rthe stringsasfast aspossible.
3. Smoothchangeof bow at frog andpoint.
4. Hold the instrument stiU . . move only the right arm.
5. Reversebowings,startingbar one with an up bow.

J=60 n

EXPLANAIION: The right arm must be completely balancedupon the stuing beurgpÌayed. This means that tJre
right arm feels lower on the A etring and higtrer on the C. The player must developúe "feeling" that ther€ is a
difíerent level for each string. The right srm muet be conditioned to cross çickly and smooihly in Lerge Cros+
ings evenúough this is done with the entire arm as a unit.

hacticLng the Viole - 24

lEcttÀ ffi n0slc D uFàlG' BllLloÌE&

22

Small String Crossing

Directions for Practice:

1. Crosswith hand only. No motion in arm.
2. Changeof string to be done with the least possible movement of the wrist.
B. Continue the sound of the whole note with full tone. Play forte without a break in tone quatity or intensity.
4. Commence this exercise with an up bow as well as on the down bow.

J=oo

ff"

EXPLANATïON: The bow whould be balancedbetween the two strings so that it can play on either string with a
rninimum of motion. This wiü give.smoothnessand roundnessto the tone and allows a changeof seing wiú the
leastpossibleeffort.

hacdclng úe Viola - 24
 23

)CtrII
Parlando
(Portato 'Palante)

Parlandomeaning speaking.In the s€nseit is used here it refersto a repeatedsmooth pulsation which is re-
iteratedmany tirne.sin one bow stroke.

Directions for Practice:

l. Smoothly accentuateeach note.
2. Usepress.rrefrom the thumb against the other fingers.
3. Arm and hand inactive. Finger pressureonl)r. No perceptablemotion in arm.

4. Tonc to sound '---- on each note, without accentsor spacesbetween notes.

N?TE: It may be indicated in music as follows ã .

@ J=60

>>>-v
\----l

0- >z

U
,-.
- >'>->> >;>>>>

EXPLANATION: This bowing will developa large beautiful singingtone. It elso tests úe amount of prcss.rre
whith cln bc upplierìto thc bow without breakingthe eound.
'llrr.
abovr:bowing muy trc applicd to all arpeggiosand ecales,usinga different key daily.
["or pructir;t'purpos(ìs,this bowing may be appliedto any slow movernent.The rhythm and bowinç of the com-
posìti<xrshouldbe played t:xactly aswrittcn while usingparlandoon eachnote,

Practicing tlìr Viole - 24

%l

X\[II
Tone Control
Directions for Pracüce:
1. Play sectionA twice . .. . once piano and once forte.
2. Play a different scaleand arpeggiodaily, usingthe dyrtamicsgiven.
3, Usea metronomewith a guarternote equalto 60.
4. Ptay a whole bow per bar goingfrom frog to tip completelyon eachnote.
5. After control is assrred,increasethe numberof beatsin eachbar. Slow Tempo.

_4

---'-ê ---- --É €

-4

- --__
.f- ? Jf=-?

- - - ' - - - - - " r -
-

..f ? ___p
"

-_ p -Í

NOTE: It is important that the crescendo bar commence with a tue piano and gradually increase the volume
until reaching a foÉe at the end of the 4th beat. The diminuendo is the same in reverse.

hactici'g the Viola - 24