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Scale system. III
3
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T153 DDflSS75
MUSIC LIBRARY UNIVERSITY OF CONNECTICUT STORRS, CONNECTICUT
Digitized by the Internet Archive in
2013
http://archive.org/details/scalesystemscaleOOfles
MP•
Brit'
CARL FLESCH
SCALE SYSTEM SCALE EXERCISES in All
Major and Minor Keys r
M.
Margaret
B.
Paskavltdi-,
RFD
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Adapted for
the
VIOLA by
CHARLOTTE KARMAN 6.00
Also published for the Violin
Carl Fischer INC. New York 10003 CHICAGO • DAUAS • IOS ANGEIES
62 Cooper Square,
BOSTON
02921
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Britain,
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Carl Flesch
SCALE -SYSTEM SCALE EXERCISES in All
Major and Minor Keys for
Daily Study
Adapted for
the
VIOLA CHARLOTTE KARMAN
Carl Fischer inc. BOSTON
02921
•
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tg"S&TB New York 10003 CHICAGO • DAUAS • IOS ANGSIES
62 Cooper Square,
MUSIC LIBRARY UNIVERSITY OF CONNECTICUT STORRS, CONNECTICUT
Copyright 1942 by
Carl Fischer,
New
Inc.
York, N. Y.
international Copyright Secured
Printed in U.
•
1
S.
•
uui rciaw*iGO .gn
A.
"FOREWORD" Until comparatively recent times very
remedy
this situation.
Delius, Hindemith, Honegger, Milhaud,
many
had been written
for
Our contemporary composers have done
the viola as a solo instrument. a great deal to
little
Bax, Eere^owsky, Bliss, Bloch,
Vaughan Williams, Walton and
others have contributed important sonatas, suites and concertos
Many new
for the viola.
This
new
in the past
works
are constantly being added.
new demands upon
literature has placed
found a place only
as
the violist,
who
an orchestra or chamber music player.
Higher standards of technical perfection are required.
It
therefore occurred to
me
that the "Scalesystem"''' published
by
the eminent pedagogue and violinist Carl Flesch, regarded as a standard
work by ii
violinists the
translated into their
I
world over, would be equally valuable to
medium.
have undertaken
Carl Flesch.
The
violists
this task
publishers and
with the encouragement of Professor I
hope that
it
will be
found useful by
performers and teachers of the viola.
Charlotte Karman
New
York
October 1941
-PREFACEmy
of practical experience have strengthened
Long years
conviction that the "Scalesystem"*
provides the best time-saving method of developing one's general technique.
To
derive the
maximum
from these studies
benefit
it is
essential that the following suggestions
be observed:
This system of scales
I.
comprised of exercises which are of service for both intonation and
is
facility— therefore for perfecting the intonation they are to be practised slowly, for acquiring facility
they are to be practised rapidly.
The
II.
should be studied in a different key every day so as to go through the entire book
scales
progressively.
The Harmonic form
III.
of the minor scales in double -stops
given preference over the
is
employs the important interval of the augmented second which On the other hand, the simple minor scales are presented in the melodic form is frequently neglected. and both varieties have been combined in the scales of broken thirds.
Melodic form
for the reason that it
use the time at one's disposal for practising to the utmost advantage, the simple scales are combined with bowing exercises. The latter may be employed in a like manner in conjunction with the double-stop scales, especially when the intervals are played broken, viz:—
To
IV.
ra
r
r
*
r
r r
m
m
and
m
and
~y
and
^ V.
It is
suggested that the student add various dynamics to the scales and chord progressions,
VIZ.
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few exercises in harmonics are added at the end of each scale group. This form of technique is somewhat neglected by many viola players and these exercises are added to assist in equipping the student with material that will be essential in his future work. VI.
VII.
The customary marks W.B.-
H.B.
M. P. Fr.
*1
am
using the
word "System" here
and not by any means U entire freedom from
a all
rigid, unelastic
-
are
employed
in indicating the use of the
bow,
viz:
—whole bow —half-bow — middle
—the
—
bow
tip (point)
the nut (frog)
Carl Flesch
want of a better one and against my inclination. It is merely meant to denote a practically tested form method of practising, which is always inimical to genuine artistic delivery. The prerequisite of true artistry for
and every kind of "System."
C Major IV
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New
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FAMOUS COMPOSITIONS ARRANGED FOR
VIOLA- PIANO FIRST
BERCEUSE CAVATINA LE CYGNE
AND THIRD POSITIONS
(B 2351)
A. Jarnefelt
(B 1392)
J.
(The Swan) from "Carnival of the Animals" (B 1393)
Raff
C. Saint-Saens
NONE BUT THE LONELY HEART (Nur wer
POEM,
die
Sehnsucht kennt), Op,
6, No. 6
Op. 31a (B 2675)
(B 2352)
,
SONG OF INDIA from "Sadko" (B 2350) VOICE OF LOVE (Evening Serenade) (B
P.
Tchaikovsky
G.
Read
N. Rimsky-Korsakoff 1394)
R.
Schumann
HIGHER POSITIONS ADAGIO from "Toccata in C.Major" for Organ (B 1950) *AO PE DA FOGUEIRA (Preludio XV) (B 2673) CELEBRATED AIR (Air on the G String) (B 1383) *HORA STACCATO (B 2671) *HUELLA (B 2672) HUMORESKE, Op. 101, No. 7 (B 1390) *JEANIE WITH THE LIGHT BROWN HAIR (B 2674) KOL NIDREI, Op. 47 (B 1385)
NOCTURNE
in Eb, Op. 9, No. 2
J. S.
Valle-Heifetz J. S.
from "Kaleidoscope" Op.
SERENADE
(B 1389)
Bach
Dinicu^Heifetz
Aguirre-Heifetz A. Dvorak Foster-Heifetz
M. Bruch F. Chopin
(B 1386)
ORIENTALE
Bach
No. 9 (B 1387)
50,
....
C. Cui
R. Drigo
*SOFT STRAINS OF MUSIC DRIFTING (Wie Melodien zieht
*SOLFEGGIETTO *24th *
CAPRICE
es mir), Op. 105,
(B 2683)
No.
1
(B 2680)
J.
Brahms
C. P. E.
,
(B 2681)
Bach
N. Paganini
Arranged by William Primrose
Carl Fischer
;
INC. 62 Cooper Square, New York 3 • • BOSTON CHICAGO
0.60AI)
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