Laoureux metodo de violin vol. 1

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Metodo de Violino

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Laoureux metodo de violin vol. 1

  1. 1. Sheet Music" GJ Laoureux A Practical Method for Violin Part 1 REPORT os PROFESSOR CÉSAR THOMSON TO M. F . -A. GEVAERT DXRECTOR or THE ROYAL CONSERVATORY AT BRUSSELS All Violin Methods hitherto published have the same fault: they proceed too rapidly, and do not ex- plain with sufficient clearness. Having examined the Method by M. Laoureux, l find that he has endeavored to correct these mistakes and has fully succeeded in doing so. In his Preface, by means of a cleverly adapted series of movements, he teaches the pupil how to hold both bow and violin in a wholly correct manner. The first exercises with the bow are excellently graduated, and highly important to insure suppleness of the right For the left hand, M. Laoureux begins with the first finger and makes arm and a fine quality of tone. it practise a great variety of exercises; later he takes up the 2d, 3d and 4th fingers in the same way. Thus, while giving the pupil a thorough training, he avoids monotony in the exercises. The same method is pursued throughout the course. New difficulties are always prepared by a series of practical exercises, and concluded by a Study contain- ing a review of the technical points just practised. The various bowings are led up to by easy steps, and I am convinced that the pupil would understand the explanations even without the teacher's assistance. Part U is devoted to the Positions. Beginners gen- erally find them difficult to master, both on account of the different fingering and the changes of position. This difficulty, of which the other violin methods take no notice whatever, is forestalled by the author; from the first position he goes directly over to the third, and then comes back to the second, in which, lying as it does between the other two, the pupil soon feels at home. And in this Way the author is enabled to in- troduce immediately a good number of studies in shifting, and to emphasize the special use of each finger in manifold positions. In a Word, the few pages devoted to these studies in shifting afford the pupil a complete view of the positions and the art of shifting. The progressive exercises, with similar fin- gerings in the first five positions, present the same ad- vantages, and at the same time train the pupil's ear. Double-stops receive special treatment in the Sec- ond Part. All the intervals are prepared, and the two tones are not played together until they have been exhaustively practised as melodíc (broken) intervals. By this method the beginneHs ear is not led astray, and he more readily acquires perfect precision of pitch. This Violin Method is, in my opinion, the only one which so skilfully prepares the study of one of the Chief difficulties of our instrument. Taken as a whole, this Method advances by very carefully considered gradations, and is, I think, the best adapted for its purpose of all the methods with which I am familiar, and calculated to do most excellent service in the cause of Violin-teaching. (Signed) CÉSAR THoMsoN. Supported by the opinion of such a renowned vir- tuoso and expert, I can only concur in the praise which he bestows on the author of this Violin Method, and approve and recommend the use of this extremely interesting work for instruction on the Violin at the Royal Conservatory in Brussels. (Signal) F. -A. GEVAERT.
  2. 2. Nicolas Laoureux r A Practical Method for the Violin, Part l Fig. m Fig. Vl
  3. 3. Nicolas Laoureux _ A Practical Method for the Violin, Part l INTRODUCTION GENERAL ATTITUDE How ro How rm: VIOLIN Before allowing the pupil to set bow to string, he should be familiarized with every detail requisite for a correct attitude, and with a systematic regula- tion of all the movements. In general, the correct posture of the violinist con- sists in throwing the weight of the body on to the left leg, which should form a straight line with the well- poised head. The right foot, slightly and easily ad- vanced, maintains the equilibrium of the body. Before setting the violin in position the pupiPs left shoulder must be padded with a small cushion, so that he may not have to raise it, but can, on the contrary, draw it back a little while throwing out the chest. The above advice is of vital importance in the matter of the pupil's physical development. A chinrest is líkewise indispensable. We will now suppose the pupil to be standing easily with arms hanging down at either side. First movement. The pupil takes the violin, with its back towards him, by the end of the neck next the scroll, between the first joint of the thumb and the third joint of the forefinger of the left hand. Second movement. He raises the left forearm to the height of the shoulder. Third movement. He throws the left elbow slightly forward, away from the body, so that the neck of the violin rests on the palm of the hand. Fourth movement. He raíses the violin With the help of the right hand, and sets it under the left side of the chin, without lowering his head or pressing on the tailpiece, so that the instrument is gripped be- tween collarbone and jawbonc; the position of the nos: will be in line with the D- and A-strings. The teacher will take care to press the palm of the G, Sheet Music" hand away from the neck of the violin, so that it may form a straight line with the forearm; and to turn it to the left, so that the fingers may come over the strings. (Fig. I. ) This position enables the player to hold the violin by the weight of his head alone, and without effort. The pupil must take care not to thrust his head forward, as this would tend rather to lower the violin than to keep it steadily horizontal. The body of the violin should slant downward to the right, so that when the pupil sets the bow, at the nut, on the G-string, the down-bow will describe a horizontal line from nut to point. (Fig. a. ) How 'ro How THE Bow Before taking up the bow, lay a pencil on a table, and pick it up with the thumb and middle! finger. (Fig. 4.) Now bring down the other three fingers gently upon the pencil. The four fingcrs, at first curvcd naturally, are now advanced till nearly straight (the thumb retainiug its position), with the forcfinger further forward than the little finger; this throws the hand into a slightly oblique position, giving the precise shape for holding the bow properly. (Fig. 5.) The teacher will hand the bow to the pupil so that the latter may grasp it as he held the pencil, between the thumb (which holds the stick at the nut) and middle finger. The pupil now brings the other fingers down upon the stick, without pressing too hard or stiffly; the foreñnger is a trifle advanced, and he must take special care to keep the thumb slightly curved, so that it may not bend inward. (Fig. 6.) The pupil has now to set his bow, at the nut, on the G-stríng. His right clbow should be close to his : ide: his wrist, gentlv curved upward, forms an
  4. 4. Nicolas Laoureux r A Practical Method for the Violin, Part l INTRODUCTION almost : trai line with bis foreann. The entire breadth of the hair should rest on the string, and the bow must not be tilted sideways. (Fig. 3.) The pupil is wamed against that very common fault of beginners. the tilting of the stick toward the fingerboard with the hair aslant on the string. This- position permits only a small portion of the hair to touch the string, and the slanting pull hurts the quslityoftbetone. ltwillreadilybeseentbatabow G, Sheet Music" set squarely on the string will bring all the hair intao action, retain its balance, require less ellont on the performer's part, and bring out a fuller, liner none. Ournextnnovewillbetogetourfirsttoneonthe G-string. As we observed before, the pupil, in draw- ¡ng his bow from nut to point, should describe a hori- zontal line, which is accomplished by letting the bow run deep in the waist (between the bouts), almost touching the edge of the violin.
  5. 5. Nicolas Laoureux r A Practical Method for the Violin, Pan 1 Practical Method for the Violin BY NICOLAS LAOUREUX PART I u Down-bowv, V Up-bow When the bow touches the string' for the down-bow, at' the nut, the wrist should be slightly raised, and gradually lowered as the bow travels towards the point; when the point is reached the wrist should be on a level With the forearm. (see Figs. III and II. ) The teacher will have noticed during- this exercise that the pupil tries to describe a hori- zontal line, but finds it difficult to draw his bow straight, that is to say, parallel to the bridge. It would be dangerous to allow the pupil to guide his bow unaided at the outset The teacher should guide the bow by the screw, and lig-htly bear With his left hand upon the pupiPs elhow, which will oblige the latter to play With his elbow close to his side, and to raíse his wrist slightly on the up-bow. Little by little, as the pupil allows the bow to be guided without stiffness, he may be left to play unassisted. In passing from G to D, the pupil, during the rest, should slightly lower wrist. (Fox- the D, A and E strings the elbow must he close to the side. ) üM/ rígbt, 1.907, by 6'. Sc/ zíwner, Inc. COM/ right renemrzl assigned, 1.935, to 6”. Scbírmer, Inc. Úojzyrígbt, 1.911, by 6', Scbirmer, Inc. Copyright renewed, 1.93.9, by G. Sc/ Lírmer, Inc. Cogyrígbt, 1.916', by G. Schirmer, Inc. Urgyríg/ Lt renewed, 1.943, by G. Sclzimner, Inc. Prínted in the U. S.A. G) íiââà 5
  6. 6. 'nílí1ííhíãÍííd$ííÉdÉííÉdã ÍanEFbíílHí$ã VíIJÉIííRCI/ fííl1íÉEIlÉíltíKIíÉííÍIlÉ$ EIlíÉev ÉIÉÉSÉÉEEdÉQHÉÉEdÉÉÃEEEQÉÉÉ í§EdQ áWHdZí31 V ' ÊXIIÍí$IÉÉIÍÍÍÍ@IT$IÉÉÍÊTÉ ÍZÉITXIÊÍÉHTÉÉÚÉÉI %E l ííNí1íLM 'v, « "I ' i ' ~ f. ; z' Vaujmíííl-líxmíàrxzxuznn/ x-: í/núúíux 4í amxgg QÉíÇETSRíɧEÃEIÂIÉÂÂL ÍauEwíÉl$ íÊâíãíKf ÉEIÉ/ ÉIÉ/ EIíH/ &WÉÍ/ Zfííí/ É lhííllelíZgííblühlblíídídgí 'i 5'* * ~ " Ç . v Í . 1. 7 a íâ/ í íí T: " _É a &Lí ídt ÉÉíd d ÍnÉwíãlííídlmÉlblíííí-'fdbí íd *Ii %a$$ -. E$í «r É í l íxm-niüñíiug
  7. 7. Nicolas Laoureux r A Practical Method for the Violin, Part l I _ _II --IZ Íl- I MM= íZíIÉMIM1IMZ í_ _úr- 1:31 r/ :tuít-ljt_ 11:_ e-: MMMIMIMÉI 17 The eighth-note is to be played x1) from the middle to the point, slightly raising the wrist for the up-bow; reverse movement for the down -boW; close to the nut, using very little bow, and solely with a wrist-movement, without moving the forearm. NB. Fullness of tone depends upon its purity. Consequently, at the beginning, try to get a soft and pure tone; later, if you have flexibility, it will become large, and will remain_ beau- tiful. Gi illfâê 7
  8. 8. Nicolas Laoureux r A Practical Method for the Violin, Part l The eight! ) notes, from nut to middle; a. Whole bow on the quartennotes. In the first measure take the eighths at the point; in the second, at the nut¡ and so forth. For a long time the pupil will find it very difficult to restraín the speed of his bow on the The following exercises Will accustom him to use the bow according to the length of the note. long notes, especially when they are preceded by short ones. lãt measure: Eighths at the point. 2'? measure: Eighths at the nut. Take the eighth-notes at the point.
  9. 9. Nicolas Laoureux r A Practical Method for the Violin, Part l Take the eighth- notes at the nut. The Legato In passing from one string to another adjacent string the pupil must lower or raise the hand by motion of the wrist only (lower it to reach a higher string, raise it for a. lower string) without changing the elevation of the forearm. @Difsb
  10. 10. Nicolas Laoureux r A Practical Method for the Violin, Part l THE LEFT HAND between the first _joint of the thumb and the third of the forefinger, with the fourth finger Well to the left toward the neck of the lnstrumenLBring nger. The hand should be prac - ñ m. O f e h t O P P 0 _Vu a a m u O h . 1 tm I a ma 1D e _ hw ao ñf . m We . .a sum S mb m . mm r O . m. mm a HM as_ H na h em t ã . a . mw. m. fm H e mm c-: íDtat
  11. 11. 2.. :: Í 1 4 ' a v V . . ›~ , ._ _ ; _;, . _f . « vía-c: run-numa_ nr/ nzanmnunlrzzxmzp-u_ ~ . awxííãn-#MÉE-&mânwüwmwrmymmmmw-n r. .w. wnrtpu%lunnzantt1mínmiuñiízíu IVMMM márnuauàa-Immtmmmmñugsummlwmmnút EUÉÉQÉn-. wmumríaümmnmmànuwt 4 Jlsaüvímíiníaíníí ñíâmtuzfmntríañm üIIlIIIIinanmñ/ ínàiilaíií' n TXÀÚMMÉMMMMMMM¡ MM '^ WÍmâÉííÉíÊtÉííMí I lñlííllíjlãíiiííálíííüúl Keepiítlre fingem down. while ascíerrdinjg.
  12. 12. ' ÊMMM: M _ ' MÍMMMÉJMMÉ MMÉIMMM MMJMMÉMMQMM lfmàiWM/ MZMIIMM-ÉMEÍMMMMíMâÉ MíMIí “ÍMEUMM EBLÉI ÉMOMÉJMMÉJM_ rnmmíiumulnmJmm _ V _ A . g _ V I MÉM| MíMI Il gM fM I 2 4 lÍ íM É_JuÍ 1.a: : ÉQMIIÍ MM M i' IAÉ-ÉIIMMMEMIIMM MÊ &MHÉWMHIÍMMM l í' ÚÍíMWMMMMMMMMÍMM-m I nun 'i nçnnwm
  13. 13. Nicolas Laoureux r A Practical Method for the Violin, Part l THE INTERVALS The Second Keep the fingers down, while ascending. 'L . - "-3 › 'az-Ei' v' -íÉM-f V1: 4 Ml_ (í%_U2I 13 The beginning note should be accuratcly' located, thus: @Difsiâ
  14. 14. I . l , l , . B* . . , à , v , w , v V _ _ ___ . u I ÃIÂÊÉMQEÉM $ . xílüãíãí _ ; A r¡@Ézx - Mí-ÂIXMMMMÉMIMÉMMWZM ! É l É . :ME/ M ' iss_aunwãyamãü_má ' l nr-vmggzspi' w rm . aum-à . m ^ E . 'uma " ' - Íàuwà# . üiinnnnmrpúirünñnníümínümíüm ' màHaIH-: Iütàiíwinàíutmnnz , r auwaàiiagl' _EPWII _ ' _ I. -TMJÉLJE @LE EEK; ; MRQJ
  15. 15. Nicolas Laoureux r A Practical Method for the Violin, Part 1 The Third d. . . a ht Sd) 6 . mw nm maio. .. ly nl nm . là gr eu bm e ha Te b f_ Éâ-I. ) _ 1 Mlg_- M-MMM 'gil-I'
  16. 16. ía? ) vi¡ 4 É_Mí . ÍMW/ ¡íííMMM| 'y u JMIMMMMIMMÉHHMHKTÊIÍ IÉ EMíí BLMí IÍ MEMM . Í4¡ WH@MâI ÉiÉIM MNÉIIMMHM íâ BMMÉ í-ÊII MM ÚÍ EI “ "'“' “ " ÉMMMH M Í
  17. 17. Nicolas Laoureux r A Practical Method for the Violin, Part l The Fourth
  18. 18. Nicolas Laoureux r A Practical Method for the Violin, Part l The Fifth Place the finger squarely on both strings at once. Diminished Fifth The dimin. fifth, on account of the shifting of the finger. is made the subject of a special study. In all scales, in most passages, this shifting of the finger, which we shall call “false vis-a- vis? occurs; and if not done with precision, it affects the intonation. 1 2 Prep aration E X ample dimin. fifth dimin. fifth 2 2 2 2 -Éf---Í -ÍE--í T"›*_MÍ I-ZÍ-íl false vis-a-vis false vis-à-vis The Sixth The sixth has a fingering on two strings corresponding to the fingering of the second on one string. o 1 o 1 Example Sixths and fifths mixed. false vis-à-vis
  19. 19. Nicolas Laoureux r A Practical Method for the Violin, Part l Seventh and O ctave Review of the Intervals IM_ í _ _w __ O : :IMMZMMMMMZMM _-I__MM-É_M Z_I_I 1 -I--jl-Ç-l- ____
  20. 20. Nicolas Laoureux r A Practical Method for the Violin, Part l L e g a t o No t e s Use the whole bow, being careful to divide it into two equal parts, one for each note. Gti: -z__-__j_-__ -__-__--- FÉÊMÉMMMMMÉEM
  21. 21. 21 Nicolas Laoureux r A Practical Method for the Violin, Part l Divide the bow into three equal parts. @Dilfâà
  22. 22. íííliíñüãaíííüííñaíííí _ a _ . .É ? É É-íüíí EJ Éíííáííauíííííí Éí t¡ « tm. h _ _ _ a ___. __ _a m. ? ; a _- ___ r ruin_ Ilnntalíaít »matam-t _ fâv-@§E: Eu . M355¡ «zac
  23. 23. Nicolas Laoureux r A Practical Method for the Violin, Part l Melodie _C; )íí___Â. . '-E__--IÉÉ-RL'-CI-MÉIÊÉÉMÍE__ I laíÚílVZÉZílÍí ÚíÚZ . Z ÍíI_ZíIIíÍZIIZÍ'I'ÂlÍ-Úií- Í. s? _ í - _ I . . . .. = = _ _ . _ w l w Scale of C Major in C major being rather difficult , it Will 'be necessary to practise them at The following exercises first detached, very slowl. , and using' the whole bow. Preparation
  24. 24. Nicolas Laourcux - A Practical Method for the Violin, Part l Exercises on intervals With Various boWings ¡ 4 O ____ _ _ 4 ____= %'= === =g= === íínwtzz 1 &FJ-nr_ = --- 9,. , O/ 'x / “ íiiinii'= === =a = ==. -_. _ ÉÉ_Í"É LÁ É At first detached, the first two eighths atathe nut, the other two at the point. . -1 41 _ ' : * jíanííííííjzjíííx~ já . jzí4ííanííííííííííuílur 1.. .: Uíiííiiiíá-: í: 1-: :- í . J í uvíá-ííú : já-L: í . í.; -_: :í7-íí G* Êilfsfà 24
  25. 25. Nicolas Laoureux r A Practical Method for the Violin, Part 1 At first with separate bows for each note, With separate bows for each note, from middle to point. *Always dimin. Fifth. 25
  26. 26. Nicolas Laoureux r A Practical Method for the Violin, Part l At first with separate bows for each note, from middle to point. ÍÉIIEIE! . “I At first with separate bows for each note . . I UV_ í_Í'í M ,151 íÍí-Í
  27. 27. Éí ITEMIEIÉÉÉÉÚM íàííí! ílàtííi Éí ÀííÉííí lÉ M MIÍKMMíÉíTÉÊ MÉMÉÉÉÉMJIÉíQM TÉMÀM AÊHILMíÉSíZÉÍÉÉÉÉÉTTÉMMÉJM . lçngÍ-W: :mas: Anakin arm mim! í$ mígsm : :amam l ' : -. , v z 2 r - - v 5 ~ › . . í IBM' M íí' | ; MIM íâíâí MMÉMMMMMMÉMMMMMMÃÉÉMMI l. .ílíífíííÉíí. üãíítâíãí Mí ííí íí ííí Mí íííl - uuuíia-n-an-_pmnnnnmnnmuuna r¡ s . w g _V _ g
  28. 28. ' *“ e a ~ n: .. ewminwtiimíñmilznuñnmmwmnmpzà : :e A . .ami ' , , ' Lxiüíüas: @meu-amv , r › , .. .. a . , 7 ' i ~ * « . . . .. . "ÉÊÍUÍI smsnunwsísanamrmmmmm_u__mwr- _çmrü___nnnm_. __mnnnumunnnmnnummm '. murampsannanu msm! !- amsa: s: . . 'Wi r Év- › › - I . ÉMSMQB ÉEÉÃ%ÉEÀÍÉíÉÃ É 1.' E ” ' . z. w ~ w- . L -u-a- amr-mnmneármranxu n' : a @www seus( : manaus axu . EE-AMZ um . i g. .. s_ . . _ . N h › » › _í , , _ . v S' i V' uamnmssatm¡ mgásnunmamnuwnggã A em' a i9 . t, o .
  29. 29. Nicolas Laoureux r A Practical Method for the Violin, Part l Etude 2 At first With separate bows for each note, from middle to point. Dloderato _ l. .m. t_ . .mu u í. ? na# 1 n__cn_. an__. a . I : :IM I__= -' ÇEIHIÁ-l-ÁZPI-É 'Illll| ¡ ' ¡Égjil Í. . KI a . .. . ..t . .u.
  30. 30. › t % M r _ 1 DW'ÊÉM É a 'M' TÉK K Síííííí ÉÊíMMÊÃnEÉÉZÉÉ ÉÉ-ÉÉZTÍÉÍíÊ Ju_ . MTTM ííífíííííííííííÉ . lruuânaMííí_làur-nnnumntxnnmmmununug . a 'Êííííí ÂíXMÃíMÉÂí W. Éfâíí ÉÉÊMíÉÉíÊÉÉÊLÍT IL. ÍVMMÊÉJÉÉIÉí . IJÉÉ-ÉÂÀÉP' . ÀI' í$íMÉílM1íííMí ; ÉIMÀ-ííííâ' FlÉí ÉMÍÉíÉÉÉÉÉÍÊ É Í. .É. Ú_ÉEÉMÉÉ &MÉÉÉÉ ígííííííí ííí ' “ íÉW H&@@E&. E ÉíQÉE %§ ; z - p: s' w, “vá r " Tí › , _f_ *' anamaria¡ mantinha: um a M' Augustin-
  31. 31. Nicolas Laoureux r A Practical Method for the Violin, Part l í, ... - T. . _n_ ___ ___ . _ ___ . . E . __ É. _. __ _. __ : ____ = ___ -- _= 1 _ _ a . ___ E M u_ ____ b _ a_ i r É. .m = r _ _- w_ r --a . . __ _ m n . m r . w _ a m _m a a m m s E. . . l . .. . .um S(
  32. 32. Nicolas Laoureux r A Practical Method for the Violin, Part l íon * S yncopat M0 derato Iamnanmzmmrx-iii-'ñz- Í --u 3.1 _I--IÍÇVÃIVZ-. .IÉ *(Syncopation is the tying of a weak beat to the following strong beat, effacíng the accent naturally falling on the lat- ter and usually shifting said accent to the naturally unaccented Weak beat. ) Inter rupted Syneopat íon aJor Scale of A m
  33. 33. É. l¡ilíí JJQ1ÂX-ÉlÉÉ É MMÉÉEEM§ÉQ>M 'M1' JEMÃÉÉQIMJí ZYMHEMÉIÉÉ-à ? ÉÉÉÍÚÉÊÉÍM ÉlâÉí%ÍííííííífflííüííudEíüíí DIR' ÊÊÍÂÉÉ É . ÃÂÉÊMEÉMÉKMJ ÉIEÉM y. . mma-maxima¡ mmmnssmugasumnnmumnxunmnum1mtnmuynnuunnsr: xuumiígpwmamu-mí-amammmmmmnm . inwmunamnnn-nnnnnnuumsmw-ununpg¡ Jar: 'HI-age m nr
  34. 34. “ 'i nunnllnlnànrmn umzammulruull-IIUII-In' : ' k mmnwmmuííwm nmwgv-ugrsçrm nxm-n: mmmmmííí , qgz . w l. .É. 'J5ííííÉâ âMíÉ$Í& Ê MMÉ/ Êâí&M -Wíüxiiuà ííwlúüiüíüTú í ü ; r v; . . , . _ n . . l . n_ H-uí I. .WÉ pnAannhagiq numpngsnn$anugummpncumuumuluuulnuganír . _ lníííííííííííííMíÉ¡Eííííííí ílgíilíí WMEMMÍ¡EM P; :i Í m. 'zw-E- -i : ííilííãnlílíilílííííííl " """ MMMMMMMM MÊIÍ í" M. M ~ . "É MMMRMMMMMMÉ ÊHÉJIMMÍMMIÉÊÉZÉ ; . ÉTEÉÉMMÉ v _ 'í “E307 BMW M%T§§ ç z _ f” ' . _ _. _ 7. _ -- V 7 N llíílílíllflílíílíl-íí ííilíííllíííí MMMMIM* i- . &â% íM&Mí íííiílí ÉMMMMÉMMMM; ÉMWUÊmMRÊMmuMmmMíL í¡ ÉM M' &ÉÉII íííl-&ÍIMÉDÍ Élf MMMMMLM , ¡ unnnannnñiiummmm' niamwznimmgmmamammímuswgnmmmzírgtrwxuamnamí MMMM__MMMM MMMMMMM MTM É em «m ; . à . , - ' PFL_ 5 '_ -' ' . , › _v_ . _ - ll l _ ¡
  35. 35. Nicolas Laoureux r A Practical Method for the Violin, Part l c III MI_M É -ílÍ II M - _II I__ - Í__í_ The Martelé To prepare the pupil for this bowing we begin with the "grand détachéj' which will enable him to attack each note properly and separate it from the next one. Use the whole bow, - attack at nut and point, with a rest after each note. (This bowíng consists of the following elements: First, a definite, though not heavy, pressure of the bow on the string Without motion; second, a very rapid stroke of the whole bow, at the same time releas- ing the pressure; third, the bow comes to an absolute stop, without pressure, acting as a damper to the string. MB. A test of the proper setting of the bow on the string before the stroke is, that the string may be moved) laterally an appreciable amount by the "bite" of the bow on the string, without sounding the note. Grande détachés 'aí AúL-Yífílíí . _ . _ 1T_ _ jr] Uau) 'Z-É __ÍÉ__ í *ZÉ_2--Z -i-à- _-ú_ : U-n-_níií- CLÍ_AÊ-IÍÉLÍI N¡ L_ljl_l_ llúl_lúl_ : lúl_l_l_ _l-Izljlz -I_IzI: Ià -EÍ_-_-'_ _' . __ - ánÍíUíÉ- : í _íííí = í_
  36. 36. :os , í ; a - ; ,nos Eee the whoíle: ; for Mercy mts üetaciheá; mamãe »r ; . , ›. V _ : › À . . IInNKKÚÊY ÊTÊ-É' 'IuÉÉIIÊÉÉ sê íaâ @Eãilníí I LlI ! ílIbíVí . ÉíÉPWY . IIÍ , '” ' ” ' às. B! : " , ~ É ' i . - a ' r «x r». . . ' IIuWÉÉÉWÊMÉI-eeíñâívêíwmüíem! MHZ-dell¡ _ @Egñíl _ ' . . atá w › L, a . . r í A , v ~ -: w V k '31 , v ›~ y Zíí mamar . . . . . .¡mnmtmzpn-mmmamunanmmtmwtememmmmwmnaeemmmmmmzsagzmeamnunqmmnxmmn_ I muaitwimwxsnsrzsm . mma . ea . usyaamemnn avança¡ @mais na: : mà: msm: : amar-min' mumrmnmsau-uruu r ; e : as . ~ , v , ^ “ r , * ' i ' «i - ' 4 . › u ¡Mm-mm! ¡àãgmnnmniámñwüguma ° aiaímxwüànü¡ &UIWNILIE ¡Ram-zíümiwxàtumnà 3113230: . amgijlmsnnn-m . , ví. › à. W¡Éfí l navegam nuv É' @E EÉ$ mmia-sunanlmiiurmwmum mama; . , . r . . . ' . .. . 1 . , . , A . . V¡ . . ^ . . . -~ <*› . _ lluWíííTr$V . É ÉÊÉÉTÍIÉIÉÉS%ÉÉÍÉÉWÉÉÉ ! íííílíÉÉií . í-&Jl-íií ll íl. l_íí . ííE . A a¡ . . , ., . t. , t , _ , e » e 1 W s, ~ V» __. I, v . a ííííiiÉiíí . . i1 ««_¡ k . . . . Àvm» , _ . x ílÉí ÍP$íÍ É , m; .a _ m ~ E L7 *g m . , É a x ~ u . . . h . t, .
  37. 37. Nicolas Laoureux r A Practical Method for the Violin, Part l GRANDS DE TACHE S Every note detaohedmsing the Whole bow Mo derato ' "Ilâ
  38. 38. Nicolas Laoureux r A Practical Method for the Violin, Part 1 THE MARTELE From middle to poi t, each note detaehed Scale of D minor Allegretto segue __ ___ é” from Middle to Point “Liar-tel , . ..Aí . .u_ Allegretto a. , . m U S: SM Í; .I 4 . Ú . .u. D G 4 . ¡ . GIM í -Ú: DÉí_Úí-ÚÂ É' - n .
  39. 39. Nicolas Laoureux r A Practical Method for the Violin, Part 1 s_ ___ LM. _ í ___ : Imlxfí : líÍ-Ií_ T-, r qlíj-_IÉM íí . _. ___ . __ 39 @Diifâê
  40. 40. §"$ mni1nmamnnânmwmmnmnnmwmmmiümui nnnlnnuuw-Inr-nnr-nnv-unux um' su' na( . nur en_ _ v_ n_ a _ rnvmm/ nàzmwuuxzí w ; É É¡ EEHQrMWFmEr-ÊMNÊMEAWMÉÉÉIEEMMEmM
  41. 41. Éâ íÉâ íM? EââÊ¡ ÂÊMÉ%&& I IuÉMÉMMÉÉÍMMÊ . ÊMMÊMÉÊMÉÉÉMÍÍÊM . _ 7 . . ___ . Jum. m. . ” E . um "é. .Am "ii §ZFâ &% : É& . MIMÉYFYMÉÊ ííÉííÍIíílM_íííÍlíííüíí íííííÉiííííEííÉíííúííEílííí K K É ZÉ í @í M! ! W$EÉlíí M é W; ZÉWLZMÉK¡QQÂÉMÉMÉ&É| ERMÂÉ ' ll. mmimkâmmt . xgnàtznntnz nnrltrnmàmuàmn M' 'b *ülf/ IÉÉÉ" 7' ' _ f. .. r . . %§ Emnunm3H1unmmuvJnau zmmmunnzwraínwmsnrmàmgmwaÊ ? magnum ÊHKÉÉI ›%í$$$ MEM __ ÉWÊÉ ' u
  42. 42. e . ' ímg íínuí$gnfçnmçmmuu ççnsu; nínnnmunnum$aríi . ímnízgninmmnnani@umwnàma§mutmemmmrwmunmugun: m"m , ímmgêv-u m. ? a. (ñwnrâmíynríwmxnwwma-w , nlzsàãàu-I ¡sí-: Iiüh-I ímã sumir-E &àüí ' Aüàjí ' . ¡- . , JEE ÉQÉ ÇJQMMÉ ÉíÊñíiíí_íííííí SIM ÉaJÉNEM ; nf íí M - Éíí ííüâ . E íííüíí § . íTiÉííííÊílíííííÉíííí ííMííí ÉííÊí-É MM É lnníiÍííííííííâETíííílííRÉÊÉÉMM @MMM-J MM ' í "WE _íâ ' íííÃííÉíííí%: ííííl1-»MíÉ1. l . Mí íɧ1 ãÉíííHílâ§íííííââíííí ÀMEa| ' lnÊíí-É' Éíí Ííí Ííí ÉÉÉÉFíÉ ÉíííííWüííâíííl _n MLM ííííí Tí? ÉÀí É , . íííjíííí ííííííííííÉ $ ~ 4h: íííííí' ÉÍÉÍH MM ííâí _ ÊÉ ; É _ MÊÊMMÍÉÉM íílííííg-: DÀIM ííííííí Émusçncínmaaíâà-&wmuummíumluznuímnmrnr mai: : . íííí É
  43. 43. Nicolas Laoureux r A Practical Method for the Violin, Part 1 int. ing study may be practised in three different ways» using' the whole bow for each note. iddle of the bow; all the notes detached, but sustained. boWing as indicated, the eighth-notes detached at the po , Moderate V_ The follow (1) Slowl , (2) ayicker, in the m (3) 1th the a ÍLÉFIÉMMIM
  44. 44. Nicolas Laoureux r A Practical Method for the Violin, Part 1 Use the Whole bow on the eíghth-note, but líghtly and Without accent. -note as for the quarter. In the middle: half -bc W, allowing as much bow for the eíghth Allegretto 151 time v e m ü . m. 2 H- G m . I t . N. 1. The staccato note short and Well marked. Use about one inch of bow for the eighth-note, the bow to come to an absolute stop after the quarter-note. At the nut lighten the pressure of the bow on the string. Mo derato
  45. 45. v v- e _MMJMMMM Ç ›I. . mRMm$I*”WV_ M mm . ammnemwíam. .í. .mm um¡ @fer . gânmnswnnmn ÉMVÉIÉEEÉ Wüíkhií-&nm _ ziílvnwlnmnmnninltullígíjiçnmulJsníwnís MMMTMJ ' ! É MYR M l ' . ÉEMMYÉMIÉÃW ífi' ííÉ ñW nMI-M , ~, ' I ÚMMÉMMÉÉEMZÉÍMJÉÉW MIN! ÉMTNÉRÉYÉÉÉÊÉQMHÍHÉÉMHMMI . Míí-HMÉMMÉÊMMMMÉK MS' EP1: SMMÊMEM | i ~v ' : :transitam-nm : :rum-m nem-unir ; a m
  46. 46. uam¡ . .mà ¡n- _n uma n Hsñwmxímúnníxvp í - . . . ..i . .e . __. .GÉ-ÉMÍÉÉMÊE É IEMÉQÍQEEQIíEMgMFÉ MM M! ÉV ' . É i i i É MMÍXÉMMIMRÊ . . . $_E. dlM_% M Rílíw; ã. %_íímu§ IVMFÉM ¡mílnlmnmamuaurxríuz su' mar-gsumurwsmmaym4m_mzmann V xnmuwnv . É . .. k' (nÉí/ MhMIEmÉ-&YÉÁ ~' * "' MMEMMSM MM M ll MICE . MMM' MIS É &É; MN -ÚMMYÊFWÉMYÊÍÉ &SÉMÉM-&MEJMÊE-ÀKK MIX MÉIMUIUMXM-&MÉÍ MIEÊIM 'j IMÉMÉMEEÉHUÉ MEEEEíIMFMMM MM JlIMFMM-MIMI-ÂM ÊÍQKJWÊIJIUI na: : : à: . amJamamr í . annznaím-nnuamrsaxnammsm; r ' tam: : . Êagwüámguzsmmxmunamnaaxvmnun parana-naun. . KAQemMIIQ at: : nnagmsg-I-am inuu-: L-uucà-n-ür mg¡ s:
  47. 47. 33mm! ¡É! .pslíglxmlunmr Jun' l incm-nüízzü mu¡ aãânsníãm &àlírjíF _V Álí' : - ¡lníunun ' : :uma xsuuumgvnunlm-ummv-r-m. ? 'nv-mm sua - nmwmw mu: 7 um ¡nímlm min-ur- : mcg . lllxznitàluznnmxxmum nim' Imirim nim-l' 3:¡ : mui-vírxxzlh . .4mz ü mam puxam! !! ur-mulrmínx n : :n-nussa nuxzznÉilãlr-n ILAUUMJHKUUÉ xaninha¡ íris( snsc u' : a miñn-wímnw . 'ÇlIN lí Éíííní " ¡Í É? ? ÊÊÉQFÉEEIMÉEÉW ÉÉJWEUÊÊ Ef Elüííí É? ?? ÍÉÃTÉEÉÊE InWEÃÍÍ-EÊ-ÉÂÉÉÍ E-É ÉÉÉÉHÃÍJ- ÉÉÉHÉÍÉÉ Éu-Eíañ-&Mâíñ Àí ? ÉÉE um naun: : nrwnunrumní ? insana-mamar bacanas-r naum-pç ? as ÉÍÍÉJÍÉÍIÍ ÉÉ ííÉ % TW MPâB§í íW_Íí. íIí. JÉ. Â-à ÉÉÉÊÍÍ Éíí É J-&É-J HÉÊQÉíEJ . .mamnnnzn-: gapulumuammnn 5.a ; mama-sz . r- un um u. : mmummmannpugu-I-Imumwqunü . r. . “g . __. . . . E' @EÉW í var-m vimmr-amwmmñrw : tsunami: 1.a' : uma xnnamannnnúzuunmu-mu-u Eãú-“ÉÉ Í . muitu-m 'xr-nr ar-nnulr-nu1uuu-nmg 545m &a ; wanna-Wiz . mí _U juntar-u . m-un3à_ taum' E. Jlâa&t§mÉÉ riu: E. : nmr-nnnuvwt wwnnüm . whnumn-wwmr-n nr-nnmnu-uím-numur-w nrnlà à numas-ma¡ . .u nur u. :
  48. 48. V _ A _ lw y , _ l v ( m . a e ãífíélau à# "Qi ã/ E : RIM v _ 4 . . cñníítnkíÉníiífÊi-ÊÍW lfnÉ M Ãíl v . a# . Í, l . , , , . ___V. ... - . . , . a. V _ V_ 6_-. .«- _.15 : . _ _ M _ “É n _v Q. . 1:» __ à . vç. l w 7 _ , .~ -v-_n-n_ . __-_- . .- _v _ f. 1 a _rwhtmsmmy . u e ¡Íñã , . 3 . . . ., , a _.11 ÊÉÃWÉMÊÊII ÍÉÉÉXÍÉiIFHÉÉÉREÚVÉ L. Ã. " . Ii-ã Eng ? .__ . . 1 ' mlsqraurmrfx . JIEÍM V m «ir-Ir imini&-l-ãzm' m-w . air zmrãzmjw--auwawz mu¡ 4mm¡ m _mñeñíüxi-I-rí-ntzmw Ernie' mIi--I-¡Uu-u-_wxmrnrinm--I . &Eifínü . nÊÍVVJÍ ÉT B$%& ÍWÍÉ ÚEíllÍUl EMM . . ÉíWÍÊÉãÉÉÊEÍIÉÉÊEÉÍÊ nuiumiiwñhi' , j _r .
  49. 49. Nicolas Laoureux r A Practical Method for the Violin, Part l _Íb_! l_ ç "___ M-_úí '-_I 'EM l. . ' “ r<= f p e “ 3 3 Lento 4 e. . __-n i1.-. í--Z-M-- 4 ' E í-_M¡_. . XM ¡. _--_. ___É= ==f= ==____ _§E_ÉI'ÉEI1'É__= S= ÉS Ç. : ÉÉZÉ aU-MMM- Ml íMMMM_---ÉÊ M_ _. . 1 5:11:15 Jàxxt 3411 _$7- Líàíííüíí 3117-: n r MÉÉM-Tà_ 4 ' : _.1- 1m. .., f_" = === ='§= = xi¡ Étttr-u n53.:
  50. 50. Nicolas Laoureux r A Practical Method for the Violin, Part l Various Exercises in Extension and on Intervals Difficult in Intonation e › hmm twmubãv. . . mmw. .mHIo. usf . mim Nyx/ T . ly au mw. nã wüb ose hss tem . m/. Ut wmm eat bhF t ? .49 Oeh um. ” n @Wo um ü GOD. . gd . mmm u? win mmm a. at O t m6 n i1 h C a e r n LI. S t S ¡ÍL S n 0 C n O . l s n e Liu x E / l position in which the hand is playing, the 4th finger teaching to notes above exercises deal only with extensions for the 4th finger. ) . .Lands-z N 1.a: : __ --_í" 'í--__'__" 4 l. Put all the fingers down at. the same time. Inn-MMMMMTMI Míííííííí QÍF-_---MM2l'----MMMMM t---M
  51. 51. ice . augg-_n-mhm. .- : nszmmmmnmmmn ' «aí slim y ' àg__n. ,__nnizzq__m___i ngmmpigicnmlninmgmmgmn. @imaginaria magnum¡ _amiga-nur msn-m manwünmm-zwsmzwmuanqn-smúmanraw na; magnum muwammizym s: « s. É 1 _ V L * , e 5 v , __ n , r _ . e e _ . &Juàldl . !líxllâgl A . wnmzg--zdrmmxáwsífímt-u É IITÊ¡ líní HlM_m&M ííI : meiu . rgrp-(j-g nt . mania-n 'r- e - t _ v a . e ; '*“ _É . x , › . z-v-Inmmm esta¡ reze¡ u . .z z. r _ . ,g u ¡Atunmrsnnmmmmmastr limwwznwwxmmma-Ar um _ãn m-í-¡nínsp-mmuumnlwnuamumw _tuga-yum : Fur í : :num Laguna' sumir mangue : :uma num-um Eram'
  52. 52. Nicolas Laoureux r A Practical Method for the Violin, Part 1 MELODIE Andante (Count 3 to a. meàsure. ) ____ p Í E . IE-Í í _ ___-_z: __'íZ_-m
  53. 53. Nicolas Laoureux r A Practical Method for the Violin, Part 1 m : ._ . .m . .um â . __ . _II mí¡
  54. 54. »%ÍÊÉ%ÉÉÉâ'àmn_mw-mrmmÊ$Íi? Ã'-íFÊWHÊ% Ê A í. . rmzlmguznmnuqnmnnn : :aranha-anunciam : mui: › nwfanáuvznkwmmwníuygnwmsqwww-@w ¡quam-a- nnuzamí-uxnuuunnpnnnmnumn: .montam-ui : ausencia: xugsxnngicgumugmugguminíà ii fuM 'I'M' 'í'- $ííHLMÉÉ M' ÉMÉMMÉ Müiuáàwmünm%iniüínwnúíàún$liuíauànu Iluvmrnmuauaàm mnnlnnnmf : rmuní-nwunxumuamní; c. .'-' IÉÍ íílÊ' à? nímúnwiií-Ifvínniííuüuwmuhmnmzmm. !Mmw-&íímíí _ __ MÉMMMMÉÉMMMMÉMMMHM r_ _ _í A L, ' à . , '___ 1 , , . 4 *v . àúxímnw-na _tãnmuxux _nluunnuníumumamínn . .vn-Inúanmiàlmnüxal-a ímamâ 92% ruzvmnumuamíiggmnzznmw _naum Ammmamzmn w_ -nngunzmmaum-mnnznamíífinmnnm ; ímznà-uuxuymgznunnnunásmunnuum
  55. 55. Nicolas Laoureux r A Practical Method for the Violin, Part l _ÉJ_ -'/ _: MLQM MM MM MIEM M7- Arpeggios Change strings without accent or abrupt movement of the wrist. Keep the finger-s down during the whole measure. Mil( . ÉXTFÃ _lim-_- 55 em:
  56. 56. L ÊXBTZIIÍBá ea @tem *thesis notes? ” @Tay âíhü tmb ihwên Éhêñ ÊÍÍÍÇ em the ímã : :mas @best a É i v( l m . a is @tristes 'hepáticas @anime as; pass @almost unnníivcââttííae ^ 15253* the eimultantreuelyg 3mm the hfeginhiggê íbís fwnulñs : ha r . t a tw : l insultar. the g imã lifin ôn : the fifa enem yív4níãíaà_mse : um: mnr-mwmúnnmaiir n( tamanhos( wanna¡ : ramais-múmias _ Tsw , . . . . ., ,. .. vetar-gw u» rmzmgnmamum: m' megaman' . . ~ nas: : _ amar v, e : um »uma àmwúm-arvsm-mnanp-wmausrüsimawním ~ í " . l; - " . . maegwmnunmmuzurupíumñg. úminíimi r › s, ~ ' Vlv à m. : 'É *m *ME ~ *em m mamwe Mñãíü' u. ÉEÉ EE mm , a ' mvwwníunwn; amam-r ; Í " - ¡~ . ..nl naum-mm ÍÊ n, ..- &Í 's __- AÉE “i I, ' ÍÍÍUbí-ÉÊÍKÍ se A W Him . , mais¡ &múmias; Â xvâxí-@zm mism- , _ rnzauúwxrmiamantrmamlmim . , 1 Im: : , g . slrgamrm , eu 4 _ . ~ M- « uma¡ › 1M s v' í ÉÃXMÉ HEMEME. . EI . .. .I @ K EEÉÊÊ M - il zwwmm= gummiàanviüinunüimàgnàmà g Il: , z
  57. 57. mmweaeêsammewahhmemmame exercise m me to pñeeísianme strings in : :amet , ea ' w sasewumüuáíñianí¡ « . §-n¡nn_a-unmw mes: arúmgiamwamm . um¡ m . _ *innmsmmmnbnm-Ênw-mmnmauc _. . u¡ . mpnssmagrm¡ . ;uma , . A ma s. s . ' O, .l 'A ' , mem msmmz-Msmam-miamaz g . wamwummmmmtmnmgm nmnmmamxmuzünummas _ $ : :Existia siíliílm' . axa-. ínmaiaun . Mansur perguntam neavwgmsmarnen mmuramwnuuunsícwmilamü-Hsvwarmiwswawmmwmmartna z ›1 y Í › : . à . . I WI : um , . @l _ M! lihaüñmãÉf É ' . mamar-murais í “l “Qi m zisannzauaegnanvvpn . mam* Em mr' E! EEF' . EÉEQI ! Es-mt _lallsuammnm-I
  58. 58. 'W r 2 'w ” * 76 NmôÍas montam H mi-acüaímêñqaaêffoüñe Áhoñngãñjtrtâl . a › x « _ 4 _É ~ V ~ . ggmuwrm-am- 7' : v: É'É: Zt ft' -, 'DE ÉEÉÊÉÍ' ' LÊFEÉÕZ, - _ía IbTÉÉÍ Éñílã [fik LE? à mammmütgwãwnwusümmzmwmçzxaaumvwnlmmz; mL--íííxm-emz . ; - sggnrnnt. . mu_ í¡ A : w wa. : . zwuwv; n. _ @ur ÃÉIIQVÀ' _Élliíllí ÉWÊIÉIÉ : mw _Êj ; fm-amu _ É ' À j ' . .x “ »
  59. 59. Nicolas Laoureux r A Practical Method for the Violin, Part 1 dímínuendo
  60. 60. V í l p É p _ &Éñíà o! ? ifigãe station: : me spot; à; @Hering . s @me wnn “the ak si? e e Êñíííñãíhã run 33m 53m sont wítlmmiâ running ter¡ q piece; pupil; is : obligmii fc¡ àíeííiitíng sjirfngíng &em; ; reply i l : :raízes fm P ; no “ an? _ r s; _ site situar? ” ; “ an' : the : integram eoníínue hífen ÍÊÍÊ SQH ãü “ Íõf the guazntertenpfeã 4 - ' ñm-¡üavaümznmüuixí-ürv ainda? 4 wt, , y “í . ,- ç . ,, ,i _. .. . . .¡ , . , , vv ~_. : , .t . Hr , . ', .. _ W r « r w 4 . ÍgnMMínÉíM! _í_z_ÉímíÉ___â uv ' iínunnsinniiiianminímíímumízx-nmn . K A¡ a - ,4 54/*7- , m &41-4! . . J e. : r _' v? ; › , . . _ l . .r . w A" . l A¡'v . 1g m g gar emmwmzmznzwmmnmmmsãammwí I-InIIII-I-ugmiz . 'í i” i Í E» . › . . " p i ~ . um Mmamlnn- * a* v; *f* ¡_* à - “' ' v* l ; ,. ti a 'a n É . . i.
  61. 61. Nicolas Laoureux r A Practical Method for the Violin, Part l THE SPRINGING BOW The part of the bow to be used for the springing bow is of great importance, as it is not suffi - cient for the pupil to execute this bowíng from the wrist, but also necessary that the bow should rebound of its own accord. Whereas, in a slow tempo, such as the eighth -note in an Allegretto, -eighth in the same tempo you must It re- for the triplet , and for the sixteenth, quite to the middle. mains for the pupil to find the place at which he can most easily execute this bowing. seg-ue lifting the stick from the string. the bow easily rebounds at the lower third, let it descend a little towards the middle Lightly, f. . Advance the bow a. . little towards the middle. Allegretto 61 @Dillisià
  62. 62. Nicolas Laoureux r A Practical Method for the Violin, Part l At the middle All e gre tt o I _ _ _ . _ __ _ _ _ _ : __ _ . _ w n w = _ B . _ _ x __ _ z e _ . n = . _ r . __ . __ . __ cow ___ __ = ._ ___ e _= ___ = __ : m : à E . . . __ ___ n _ . __ ___ . __ ___ o ___ . __ ___ . __ ___ . m. E ___ . __ __ u ___ = _ . __ _= meu _É . __ a à à à í É. . O . __ . : . .e a = . , ___ m. m_ = n_ u_ . m . m __ _. _ _a . .n
  63. 63. Nicolas Laoureux r A Practical Method for the Violin, Part l . íàííjí -íí ? à íííimíí @Ddââê
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