1. METHODBO
Joselito C. Alejandrino

2. OLIN FINGERING Cf.lART
st Finger
(index)
2nd Finger
( iddle)
3rd Finger
(Ring)
(SOL) (RE) (LA) (MI)
G DA E
Finger
(Pinkie) ~,./"---'
Low 1
Low 2
High 3
Low 4

3. METHOD BOOK
Joselito c. Alejandrino

4. First Printing © 2008
SOUND PUBLISHING CORPORATION
Makati, Philippines
All rights reserved.
No part of this bookmeybe produced or transmitted in any form
or by any means, electronic or mechanical, including photo copying
or by any reformation storage and retrieval system,
without permission in writing from the publisher.
Cover design by
Nathaniel A. Cruz
ISBN 978-971-8994-90-0
The EASY VIOLIN Method Book is published and printed by Sound Publishing Corporation, with business and
editorial office at 2nd Floor, Yupangco Building, 339 Gil J. Puyat Avenue, Makati City. Telephone Nos. 897-2157
& 897-2187. Address af/ manuscripts with self address stamp envelope and correspondence or through Telefax
No. 895-63-38 Published under PCM Certificate of Reg. NO.167.

5. FOREWORD
Easy Violin Method Book is created especially for people like you who
want to have a good foundation regarding the proper method for playing the
violin.
Playing this instrument demands a great amount of time learning the
basics. Each page of this book will help you discover your potential of
producing a good, controlled solid sound of the violin. Basic lessons of proper
holding of the bow, proper posture to the actual playing the instrument,
iUustrationsand pictures are presented in a very understandable way so that
you willenjoy learning.
I hope that this hook will become part of your success in becoming a
good violinist.
JOSELITO C. ALEJANDRINO
Author

6. ACKNOWLEDGEMENT
I dedicate this book to my family, my wife Nerise and to my only child, my
little violinist 8etina.
Special thanks also to Mr. Noel De Los U. Angeles for helping me in
making this book look more presentable than it was when I composed it. Also to
Mr. Rene Mari Yupangco in giving me the opportunity to share my ideas through
the help of SOUND Publishing Corporation.
JOSELITO C. ALEJANDRlNO
Author

7. CONTENTS
Partsoftheviolin 6
~~~hB~ 6
Howto attachstringscorrectly 7
Howtotuneyourviolin 7
Thefourstringsoftheviolin 8
Tetrachordpositionchart 9
Howto holdthebowcorrectly 10
Howto drawthebowcorrectly 12
Fingerandbowpressure 16
Positionandaction 16
Howtotakecareofyourinstrument 17
Exercisesonopenstrings 18
Exercisefor combinationsofallthefourstrings 22
Exercisesforgainingfirmercontrolotthebow 23
Exercisesfor crossing andconnectingthefourstrings 33
Exercisesinquarternotes 33
Fnatural 35
Etude1214time 37
Etude2 3/4time 38
ScaleofCMajor 39
Etude 3 eighth notes 41
Dottednotes 43
LegatoPlaying 44
Slurrednotesononestring 45
3 notesinonebow 45
4 notesinonebow 46
Changeof Strings 46
Fourthetude 49
Relalivedistances 50
Fifthetude 51
ScaleofAminor 51
Notesofdifferenttimevalues 52
Sixthetude 54
ScaleofGMajor 55
Brokenchords 55
Exercisesforcrossingthestrings 56
Wholebow 57
Skipacrossoneortwostrings 59
Exerciseforchangeotbow 59
Exercisesacrosstwostrings 61
Exercisesfor differentdynamicexpression 61
Scaleof Eminor 62
Technique development 63

8. Bow grip
Top cr-..-..-..--~
4-----<") Pegs
f+-~---o Nut
Scroll o----------~
Pegbox~------~------~~
Fingerboard O----------fltl.1
11+------0 Neck
Strings o-------4-+Ti'T-f.l
.....,f-------Q F hole
Bridge o---t~~~~b •.~~-----o Sound post
Fine tuners o----Ilt------..C)&,(.
~----_H_f_----o Tail piece
Ch in rest o-----.;w---. ~.~.~~=-----o End button
PARTS OF TUE BOW
." point StiCk} Adjusting screw
6

9. WOW TO ATTACU STRINGS CORRECTLY
Correct Incorrect
The above illustrsiions show clearly how the strings
should be attached and wound around the pegs
The pegs should always be in good condition, sh.ould fit exactly and should
respond to the slightest touch of the player.
If the pegs begin to stick and do not work easily, they should be taken out
one at a time and be rubbed with a little soap if too tight, or with a chalk if too
loose.
HOW TO TUNE YOUR VIOLIN
TUNING OF THE FOUR STRINGS
The Four Strings are tuned in so-called Perfect Fifths. A perfect Fifth is
an interval of five (5) diatonic degrees, counted from the first note (prime) in a
cale. (See next page)
It is of the utmost importance that the Violin is properly tuned. As correct
ning Ofthe Violin by ear is difficult for a beginner, the Violin may at first be tuned
'th the aid of a piano or a tuning pipe.
As soon as possible, the pupils should be taught to tune their own Violins
ear. This is one of the reasons why Ear training should begin early.
7

10. rUE FOUR gTRINGg OF rUE VIOLIN
(SOL)
G
(RE)
D
(LA)
A
(MI)
E .
I I
,.,. / I ,
/ ,.,. , ,, / ,.,. , , / I ,. , ,. r ,
/ ,.,. , ,,
A" ~ • "ll
~
G(4C) D(3C) A(2C) E(1C)
I)
<) ,
: 0
, -0- I
I I
I I
I I
F AB cD E F GAB CD E F G
Middle C
C Means corda: Strings.
~ Indicates Down-Bow.
V Indicates Up-Bow.
D Indicates Open String.
8

11. TETRACUORD POSITION CUART
• Major Tetraehord Position
OPEN STRINGS Tetrachord : First four notes or last four notes
of a scale
==~n ., u Major Tetrachord : First four notes of a Major scale. -u-
~~
G o A E
1
} WHDLESTEP
} WHDLESTEP
} YzSTEP
Minor Tetrachord : First four notes of a minor scale.
2
3
~
0 I 2 3 0 1 2 3 0 1 2 3 0
~ ~
#I), ~ ~ n
~
0 i«l n
0 0 SI
--u- -e- -u- -e- V
• Minor Tetraehord Position
OPEN STRINGS
TUNING
OPEN STRINGS
II
n
u
G
~
G 0 A
Cl
u
-rr
En
o A E
1
2
WHOLE STEP
3
~o
0 I 2 3
0 1 2 :[ 3 0 1 2 ~0) 011 3 n #0 ~
~
Z () y ! ~ 0 n $•• 7 "- 0 V
9

12. CORRECTLY
Make a circle with the tip of your thumb on the first joint or crease of your
2.
middle finger. Keep your thumb bent. (fig. 1)
Place the thumb of the right hand, slighly curved, beneath the pencil and
opposite to the middle finger, with the other fingers placed side by side on the
bow touching each other. (fig. 2)
4.
1.
The thumb must be placed simultaneously against the nut and the
stick. (fig. 3 & 4)
3.

13. The bow must lie in a slanting position between the first and the second
. ints of the first finger and and the tip of the little finger. (fig. 5 & 6) .
6.
7. 8.
Hold the bow firmly but in doing so, the thumb and fingers must never be
strained, and should not touch the hair of the bow. (fig. 7 & 8)
Never forget that next to the fingers and the arm itself, the wrist is the most
important factor for the ultimate mastery of bowing. To play with a cramped wrist
will not bring satisfactory results in violin playing as a loose and flexible wrist is
important in correct and artistic bowing.
11

14. UOW TO DRAW TUE BOW CORRECTLY
The bow should never be drawn in a direction too far forward (fig.9) or too
far backward (fig. 10) but always in a straight line, parallel to the bridge. (fig.11)
9. Incorrect
The bow should be drawn straight across the strings, parallel to the bridge
and midway between the bridge and the fingerboard. It should be drawn evenly,
touching only one string at a time.
11. (Correct)
10. (Incorrect)
12

15. The wrist should be entirely loose and flexibl~ capable of moving with ease.
In fact, the bow cannot be drawn straight across thestrinqs without raising the
wrist at the frog and lowering the wrist at the tip. (fig.12,& 13)
12.
The change of the bow should not be noticed but be done as quietly as
possible, and here again a loose wrist is required. In fact, mastery of this most
important requirement would be impossible without a flexible and pliant wrist.
14.
13.
15
13

16. e lower arm and wrist should always be moved to and fro with natural
eedom and simultaneous action. Do not hold the elbow too near the body and
also beware of holding it too high. When playing upon the G string, the elbow
must always, and quite naturally, be held considerably higher than when playing
upon the E string.
I f ;1
'I
i - { I t j/
i J 1 I
f 1
;! 4 1 .I'I
( , r
f fI
1 j •

17. b
Variations in the position ofthe right ann in executing a stroke;
(a) at the point of the bow;-
(b) in the middle;
(c) at the nut.
The straining of the muscles and ligaments of both the left and right hands,
fingers, wrists, arms and shoulders, through stiff or cramped exertions on the part
of the player must be absolutely avoided. All movements must be carried out with
natural freedom and pliancy.

18. ImQortant PrinciQles Concerninq
(:lKG.~~A.Kt) BOW P~~~~UQ.~
1. The left hand fingers should stop the strings with exceedingly strong pressure,
but without stiffening or cramping the hand or fingers.
2. The pupil should gradually strengthen and develop the fingers, so that they will
fall upon the strings like individual little hammers.
3. The right hand fingers should draw the bow lightly and smoothly over the strings
without any rough or heavy pressure. To be able to do this, you need to use
different dynamic pressure from the two hands:
a. Strong finger pressure for the left hand; Light bow pressure for the right hand
b.The wrist should be free and flexible to insure free movements of the arm.
POSITION AND ACTION
of the fingers of the left hand
The fingers of the left hand should be held above the finger board in a natural
and curved position. The actual stopping of the notes shall only be done by the tips
of the fingers where the sensory nerves are located. Always enable the fingers to
be kept above the finger board, ready to fall into place with the necessary strength
and precision.
SUMMARY
1. Always stand erect, with shoulders well straight back and chest forward;
the weight of your body resting on the left foot.
2. Do not let your Violin sag but keep it in a straight, horizontal position.
3. Draw your bow mid-way between the bridge and the fingerboard, straight across
the strings; the sounding point must never vary and the direction in which it is
drawn must always be in right angle to the strings.
4. In changing from down-bow to up-bow, or from up-bow to down-bow, move
your wrist.
16

19. 5. Play in exact time giving the precise value to each note. Train your sense
of rhythm incessantly through correct and proper counting.
6. Be sure that your Violin is perfectly tuned.
music must be placed exactly in line with your eyes, the height to be
lated by the necessary raising or lowering of the music stand.
UOW TO TAKE CARE OF YOUR INSTRUMENT
VIOLIN
Handle your violin, bow and case with care. Instruments and bows are made
of thin wood, and can break easily. Bumping your instrument, either in or out of
the case, may cause it to go out of adjustment.
Keep your violin clean. Each time you finish playing, use a soft clean cloth to
wipe the rosin dust from your instrument, bow stick and strings.
When you are not using your violin, always store it in its case. Before placing
your instrument inside, remove first the shoulder rest. Secure the latch properly.
Never put this book inside your case. Placing it inside may cause your violin
to break or go out of adjustment.
Do not expose your instrument to excessive heat or cold. Extreme
temperatures may cause your violin to crack.
Check your bridge often. If it is not standing straight, ask your teacher to
adjust it yourself.
Do not attempt your own repairs. Only an expert musical repairman has the
skill and experience to repair your instrument.
Do not let others play your violin.
BOW
Bows break easily. Do not drop your bow or hit it on anything that will cause it
to break. .
Do not touch the hair of your bow. Moisture, perspiration, oil or dirt from your
hands, face, or hair will spoil the bow hair.
Before you begin to play, tighten your bew with the adjusting screw. Your
eacher will show you the correct tension to use.
Each time you finish playing, loosen the tension of your bow.
17

20. ~ A String I .
e
3.,., ,.,
~. t$?-. t$? - > t$? - t$? - t$? - t$? - ~ - :1
.
7. ,., V
,., r
n I n I () I 0 I n I n I n I n :1
~
~~. ~ @:. ~ ¥1~~)~ Fgo ~
~------i •• ~ •• ~ •• ~ J~ .. :1
18

21. E String
, .•
o
,
~12.-r-, Gr-, ~---G---'- Jtf- G- G- G- ~-:I
In :1
14 .
..
15. V
~~:- r_: --,-,-I_n ..-..-.1-1_n_I n In
~n
ia
19

22. D String
o
21. ~ ffi-- ~ - 00 - 00 - 00 - 00 - 00 - 00 - :11
o
24. V
o
V
I -~ @ I I I I :1 0 0 0 0 0

23. G Strings
o
21

24. Exercises for combinations of all the four strings iG i"
39.
~n 10 I•• I" I" I•• 10 In :~
40.
~~~~
41. Marching to School
Exercises for gaining firmer control of the bow
22
B
"".110"" I I I I
~ •••
" ~ U
1'1.: LI
tJ =d Cl Cl
~ ~
r:;; o
~
o r:;; r:;;
G 0 G 0 G 0 A 0 A C A A 0
~ ~ ,
••• ,.. ~ - , , •• r: ~ r. - ~ - ':.J
" - - - - .., , , .., - ~ .,.. ~ ':.J .., - - r: r: - r: ,tJ c. "?i ?; Gi too ?; "?i too
A
•.. , .110 I
~
" U
1'1.: LI
tJ =d Cl r:;;
~ ~
r:;; r:;;
~
r:;; r:;; r:;; . - r:;; -
?; :0-
G 0 G 0 G 0 A 0 G 0 G
~ .110 I I
••• - - , , - - .,. .,. - , .,. - - - - .., - r: - r: .., r: .., - - ,tJ ?; "?i "?i ?; ~ "?i -6 ?; U

25. Exercises for gaining firmer control of the bow
••
u u
'¥J j t#=r. ~ J ~ J ~ j ~ ?
,.
23

26. ~. v v
24

27. •
v V r-I v
•
••
25

28. -
A string 1st finger
f==n~:1
1 1
1
~n:~o:1
iI:; I0 po: I0 I.. :1:: I.. I0 I.. I0 :1
E string 1st finger
-'LoIO,------=-:I
~-o~.---,-
10 :I-=---: 0 1_0 ----I1f--° _I n I (> :11
<,
72. ,., ,.
~() ====ij:1
73. ,., ~n:_:1
,.,
26

29. D string 1st finger
o :1
76.
o :1
~ :_:1~"1__ :~
o 0 o 1 1
10 :11
G string 1st finger
1
80.
-0 ~:I
1 t~~o :~&:I
~
==I"I 1"1 ==-gt======t=====I--------=-:E: I I I > I :~
o -0- -U --9 0- -0-
1 1
-o
-0- -
o
- 0-
27

30. ~f----:1 •• :~n I
o 1 0 1 0 o 1--------------- o 1---------------- o
~~ •• :~I---n-----,t
011 0 o 1----------------------- o
I~n
,.,
In :I:n 10 I n2 10 In 10 In :il
1 0 1. 0
87. 2 2
~'-(O-)~:~I-(-O)------=:II
r~88. 2 ,.,
2 1° 0 1°
1°
In :I:n 0 0 0
:1 I I 1° I 1° 1° 1 0 1
D string 2nd finger
~:~I:I : 1 0 1 I-o---::i 0 1------------ 0 1---------- 0
~:~~o~:1
: 1 0 ~ -o-~ 0 1------------ 0
28

31. r91.~ ,., 2 2
10 In 10 I :1: 10 In 10 In 10 I :1 0 0 0 0
1 0 1
G string 2nd finger
~ ~ ~ .
~~u :I~~rr :1
01-- 01-- o1------- o 1--------- o
t~u:~u:1
r~ ,., 2
o 1 1 0 1 0
I -' r-' :1: I :1
n e- n e- e- n e- n e- n e- n
0 1 0 0 1 0
A string 3rd finger
~~:J~:~n ~:I
2 2 2 2--
~===n:=::;:~r==(I ~:I
o 1 0 1 0 2----- 2------
=#!·-~o)---lII--(l~:1 1 0 0 1 0 2-------- 2-------------
~ :L.) :'-':'&--=-:1
2----- 2------ 2-- 2--
29

32. E string 3rd finger
~~n:1
o 1 0
2 2----------- §ro.JL1-- --e. : ,., .e e :
~ 1 0 0 1 0
••
2------- 2--------
D string 3rd finger
~===::i::~~~1 ? 0 1 . 7?..---
2----- 2-------'-- 2-- 2--
102.
~:~§o:1 ~ ? 0 1 0
2------ 2-------
1----------- o o 1---------------- o
2------- 2----------
G string 3rd finger t~u: u:1
o 1------- o 01---------------------------- o
2------- 2----- 2-- 2--
o 1------------ o 1---------------------- o
2----- 2------
30
-~- ~~-----

33. 106. ,., ,., 3
•• ••
U & & U U & U & U & U & & U U & U
0 1 0 0 I 0
2 2
A string 4th finger
107. ,., ,.,
11 :1
01 0 012 0
2 3 ~3~============================~--
Cl :1
o I 0 I 0
2 3 2 3-----
r==~ ==1==7 =:::tn:;;;:1:::=:::I:&===O I::n=«===11f:e:=o=1 0 I:e=o===11fD==O=1:&===0 In I0 I:' :1
2--3---------------------------------------
E string 4th finger
~f-"'-"()'----;:-1:~n :1
o 0 I 2 0
3 3 3--------
1-'•«:•.<.• ----::1
3 2 3----
r~ 4
0 &
0 In :1 I 2
0 .0.
&
.0.
&
.0.
&
0
1
I I I I I I0
1
3
31

34. D string 4th finger
~~:~~~§o?:=1=:i 0 1-----------------
2--- 2----------------
3-- 3------ ,3------
i----§ ---=-:1
o 1 0 1 0
3 3 t~ 4
2 2-------
10 In 10 In 10 In 10 In 10 In 10 I :1 0 0
0 1 0
2
3
G string 4th finger
01------ o o 1---------------------- o
2--- 2----------------------- 3--- 3---------- 3------ r u :1
o 1 0 1-------------------
r118.~ 2 2
3 3
I I~ I I I I :1
u e- u e- e- o e- o e- n e- u
0 1 0
2
3
32

35. Exercises for crossings and connecting the four strings
119. :,.,- V r-I
120.
0121 1210 0123 123 0
121. r-, r-I
122. .
23.
f :~
Exercises in quarter notes
124.
~n:~ o
127. r-I 2 3 2 3 2 r-,. 3 2 .
~f--IO_)------=::~
33

36. 130.
2
~>' '------&---71 r-, 3
f--&----4~ :~
131. 4 3 4
~=etJ==ij:~
132. 3 4 4
~I-~---=-:~
134.
34

37. 137.
& :1
& ~ ~ n :1
F NATURAL
E STRING 1st finger
140. ,.,
~i * :1
~~ =t=
E STRING 2nd finger ,'E_~*:I
,,., 1 2
35

38. E STRING 3rd finger
145. 0 1 2 V 3 . 2 3
*81
E STRING 4th finger
s :1
FNATURAL
on the D string

39. ETUDE 1
2/4 time
:~
153. The Babbling Brook
A
~ " •• •• •• •• -(T -?- - ... •• ... '- -rI
r- '- '" 11 •••. tJ I
~ I ... .~.:;..
r. " " 1 - ....J ~ 17 - - - = - ,~ - --- - --- - --- --- • --- -- B
~ ~ - •• ... ... - •• ~- z: - ---- -- ~ --,"T r "'" "V I I I
I
~
.-I ....J
'V --- • - .-I - ---- - • --- 7"T - .-I - -::;; ~
37

40. ETUDE 2
3/4 time
i6~~~JM~
158. The Ring
r ••••• .-, ..,I r- -.-J -.-J _ I-" •... ~ - .-I .-J •... " .- - fJ I I I I • -d
" ,
tI' " I I I
~ - ,
.-J .- v ,tJ ---~ - ..•- • - ••• ~ ..• -~ ..• ---~--- .0-
38

41. The Cricket
4/4 time
,. 1
A .,.. la • .-1.-1 .-I .-I ,. .-I
eJ -- - - .,~~~ -~~~ ~~~ .,.,.,.,I'" ••
~ /- 0 /- '" - »: ~ ~ - ~ --. ~
B - • , - 11 , - >- c: - ,. 11•• I""" ~ .-I ••• v - - - <,
'eJ .......•..- <, -
", ~ I I I I -- - ,~.
eJ ., .,.,., - I I I .,., ., =rl~- - - - ., TT T .•.- .•.
••• .-I
~ /' - /' ~ /' <, ~ • , - , - ,.
" v - ,- • L•• - - 11•• r: ~ - - .-I
'eJ 11-& ."11 ~-& 11-&
1:i
r:.I ~ -
~
160. Scale of C Major
;.
A •• -- eJ -& u -
~ - - ~ - , •..- - I I
<, B /' - "'- -.-I - - .-I 'eJ I I I I I .•. c" -
.-I
I ,. " .~. •• ",. " ~ ... - ~ ••
eJ
~ I I - .....•
.. r.. .-I - .-I .-I ~ V - - - -' ./ - L_ - .-I - - •.. eJ ~ .•. <::> ---...I '-" - ••• - <n- <:» ••• v
39

42. ~ " ~
r," "... V - ••• "... f) - u -&
~ •.. ...,
cV - f)'-" -0V ~"-,J. •.- ~ •. -,J:if~-,J -&
Fourth finger or op-enstring
161.
~C~o :~~() :~~n :1
Preparation for scale of C major
162.
~ 0 :1 -& & .
163.
~ ~ ~
164.
~

43. 165. Seymour C.M. V. Weber
A
~ ~ •..•..... 'f;'- • .-.. .•... .•... .~. r~ ~ u n r~ u r- •... •• - '" -- '" '",
'"v ~ - r "•.... Ill .••• '..'" '" - eJ V ;I. g. ~ r. 1"- 11I- r. -
-6 -6 +tv- ..•.• ~ -6 ~ ?; ;-6 c;. -
~ ~
'z
B
~ ~ - 'f;'- a 0 • - - U L> r- u .•..• ... ~ r- ~
t""
tJ I I
~
.. '" "'" r: ..,.j .- , .r: rr:. - r. - ,tJ -6 ~ -f!P;g. ;-!1-'..... ~ ?J i ~-6 " ~ - ~
?; ?;
166. Etude 3 eighth notes
~
t]
41

44. 167. Merry - Go - Round
A
./ ~ ....-1 ~ ,....... ~ •• - r-- - - ~ - - - .-I .-I r- r- - • -, ,...
r " ,. .-I - - - - '- .-I - • lJ •..•. - - - fJ -- I I -
~
~ ~•• -- - .- • - r '" ,. - • ,...
B '- - - ,.
lJ •..•. .-I .-I .-I
'fJ •• • • •• -,J"-,J~ -I -it • -,J • ; ~ • ,.....,
,-... - - - - - ,-... - ,... ,-... - - .-I r~ , ....•
fJ I ••••••• I - ~ I
~ -- - .- ~
r .-I .... ...•
,lJ '" 'fJ -,J - r - .-I - - .-I •• - - - .-I • - - - • - •••
~ 168. A Cloudy Day
" " A ~ •... - ~ ..".. .-1- _ - I • ,-... r- _ - r~ - r- _ - I - ,... r- _ - -- r, '"' ...•.
" ,... ,... - •.. , ,tJ lJ -.....J
~
'fJ .-I r;; •• -.. -u :4t .• • - -.. <« ~
.•r;;•. - ,
'"' •.. .-I .-I
B
> ~ • • - ..:... - - - ,... I ,..,. r- - - - r- - r- ,... - ,... - -- ,v r- - ••
eJ b ! - - -I
~ I
,~ • " • lJ - .-I - .-I
.....•...- .. .. -•. 'fJ -'0/ ..::: -,. -" ••• - 4
~ ~ ". .
:4t /

45. A "Dot" placed after
a note prolong its
time value by half.
J= 2.counts
Half note
J.= gcounN
t
Dotted half note
Play the down-bow slowly, and the Up-bow quickly using the same length of the bow.
v ~ V .
~. ~. f=ij. ~. m. [m. m· B
Down-bow quickly, up-bow slowly
~.
~ V
: . . o
V
£Er. ~ V
~I---. ~
V tr ~. ij. V
:~. ij. S· m· TTII
0
Down-bow slowly, up-bow quickly
~I-----. jij. ~-. 1$1
o
I •• . ,
43

46. .-I .-I .-I - - ,..- - - - ,tJ - -# - -# -#- -# - / I ..- -
r 'I"J • fJ I
""""""
,.. n_ •
175. America
B
./ 1 - . •• •• •• •• - - r- _. _ r- I"'r _ r- - - U· r, '" " ,... r-
.'IJ •••. ....
tJ I I I r I I I I -,
~ I I •••• - r. '" " - .-I - .-I ,...-1 - .-I .-I
11 11
A
•./ 1 .•• _ - - - _. - _. 1*-_
"11 ••
...• -
- -- ~ •
-+ J • -,J- -
.-I ,... """_.-1
- - _ .-I
,. I 0....1 - •. ,.-
.-I •
LEGATO PLAYING
"Legato" means the playing of a number of notes or a passage in a smooth
and connected manner, with no breaks between the notes. The sign for such
playing is so called "SLUR", a curved line drawn over or under the notes, signifying
that they are to be played legato and indicating to the violinist that they are to be
played "in one bow".
JJj
ASluf below
3 notes
.c>. r r r r ASluf above
4 notes
A Slur above
2 notes
For this kind of playing, particular care must be given to the equal division
of the bow:
With 2 notes to one bow: Divide the bow into two parts
With 3 notes to one bow: Divide the bow into three parts
with 4 notes to one~bow: Divide the bow into four parts

47. Slurred notes on one string
~'c ~ay exactly one half of the bow for each note
~'--- U :~
177. Ij
1 2 3
.". :1
3 notes in one bow
, ~xa<tly one third of the bow for each Dote •
~~
81. Ij
o
45

48. 4 notes in one bow
184.
~e
185. 3 4
~ :.
11 :.
•• :1
CUANGE OF STRINGS
Any bowing is relatively simple as long as the bow is used on one string
only. It is when the bow is transferred to a new string that the difficulty arises. It
can be said that the main problem of bow technique lies in the art of perfect
change of strings.
In order to gain a smooth inaudible string transfer, the finger, just used,
should remain on the string until the bow has changed to the new string.
Exercises for string transfer iF1 FEC--~-----=:~f--40~---=-:~C&CCCC~:1
1--
3-- 3--
46

49. ~ I
~£~~o..~..Iv 3• --- s>: ~- .... - •• •• •• - -.- /'-.3 ~ 3 •... I •• •• . •••••• IV I - - - •• U
2 2
1~
~~- .0. ~ t ;n ,., 2
91.
~
:-. - - • • • • - - -,- •• • • • n- ••••• ....• • • v V I <:: I ~ -,J .J
8 o· 3 <:> 3
2 I I ,,-.-.4 ,,-.-. - ..- - - - .- .- •... ~ ~ ....• - ....• e> ••• -...J- V.-I '_ - - - .- .- -- -- I I I
9r ~ String transfers with 2 notes to each bow 3 4 3 0
1~~
~ 3/"'""';
~ 3-- 3--
9"3. --~- .r>. c>. - - /'1 /1 11 .- - .- - - - ""', .- - .- - ....• .....
V I I I I '-" "'--" - . "'--'
9~4.
~v - - - - ....•
li n ;~ & ~ - & ••••• ••• v - .~ • ...----,J U~i ~-,J •• •••• •••• & '-../3-../ <:» ---.J --./ ~
1-- ~
String transfers with 3 notes to each bow
95. .~ 3 4
-@) -~ <c:> ~ I ~ I I I I
~ ~ fill t - 2 I ~ ~n - ~!t
~,.. - 1 ~ .- 1)' •••• ....• ..... .-I _ .-I
~ ~
3-- 3--
~4 ~_1 «:» ~~ ~~ ~ «:-. ~ - .- .- .- ~
~ I 3--
117. r>. ~ ~!l_ ~ - ~? ~3 •... - •... .- .- - •-... - - - - - I ~ ....•
$6.
v - - - if.) 1 I 1 I I ~ "'--- ./
1-- 1--
47

50. 1-
String transfers with 4 notes to each bow
199
• 0 ~
~~
~
~4 ~ ~4
'--9-:1
1--
202. The Doll
3---
B
4 3
4
2
48

51. 203. Fourth Etude
$
3 __
49
204. The Squirrel
A
Down-bow quickly, up-bow slowly
•. " !Ill V M V
0 ~- e'"J - - ---- •.. • " • • r. ~ "" •.. • - • .-I .-I .-I .-I If ••.•• .-I .-I .-I • t) ----"2 ~ 1 <:» ·
f -- " '•'."• - - •• .•. •• •• • • • • ,...
r~,v"'" ,tJ ••• ••• • .-I .-I •• I I
B
•.. " • • '0. ,-... ,-... • •0 , ~ - -...
~ • r- - - • r •• •.. •.. • ",r- r-tJ
I I I I
" ~ - /'1 I
r- - • • • • - - r, •• ,... •.. •.. • ,... ,... • .-I .-I .' ~If .•.. - tJ I I ,I I I

52. ", fI -.- , , .- ~- • • - - - • .. I-" - r- r- - I I I
tJ I I
' /i ~ - 4~ .- - - , , - ~ ..•. - I .- - ,.. - ,.. .•.. - I • r '" - .-I #/to. #/to. I-" #/to. #/to.
~.~ '
1 2 3 2 1 1
206.
~
- :1
X - 'fJ I I I I I • I I
Relative Distances
- :1
207. r-I
- :1
208.
o
- :1
.------TlI
- :1
50

53. 31~~~
2 2
3
. :~
Exercises for Band F
214. Fifth Etude
~~5. ,.,
..• ..• r~T ...• ---.
--
&
1
TT _
t .•. ••• ••r•.
51

54. Scale of A minor
217 .
A
" filii ./ , r. - - ~ --.-,.
0
•'"•• ~~ "" " ••• ~
..' J @J
V ,.." r • - - I I -
"" " - .-I I- - .-I
..' J - - .-I. - - .-I ...J
'tJ - • #-,;- ~I I - • • - I
B
" 3
.,. .. ~~ .. 1 =t= ,2 0- 2 0 - 1 '-" '-'"
..
@)
" I I - - I - - ~ --- -
_- UiIIII .-I .-I
-,j-~--- f) ! 'n - ! I I I .4.. --- - • ~-,j- •
,~ " ~ -~ -~ .-"-.. -.:,"~ 1. ... •
• v f)
fI I I
~-Iy-.- - - ~ • v I L_ ...J - -i rILi__ 11II-'.-1 •
'@J ~=l:T -* ~ -,j-1 I - --- • - n
=~18. F=t:~ I .7~! --=--- ~~.~. _~n ~
~ I '
NOTES OF DIFFERENT TIME VALUES ..
In one bow
52

55. Dotted Quarter and Eighth Notes
224. Old French Song
" ~ V I~ 3 t ~ I
. = -...- ,.. r- _.-I -~- _.-I ~ -- -I
-~ -- 4!J, - v r I I I - - 1
~ ~ .. - - , .-I , .-I - - '4!J - .• --=i =4i -. ~ • - • -~T ~-. • tII • - 11
~
~
~~ --
53

56. u -. JIII' - -:;;;: . ~.'.
~ " ~- --.....~ 4
~ r- . - - .... - _.
r "... ., r- r- r- "-fJ I I I I I
~ r'!,... - - - - - ~ ""'"
J. ""
~ ,. .-I _ ~.- - - .-J _ ~.-I - ~--~ .-I -- .-I - - ...- ••• .-1 V' -11II- , .-I .- .-I
'fJ 'C/ -i -
-- - -- - <::: -
tII ~ , ~ - v - - I I I I I ..- , I r..: " ~ •• .-I - ------- ~ ---...
•• ",) I I I " - - ~ - """"'I - - ~ - - ..•. , J.: '" .-I _ zr • • .-I .-J .-I
fJ <e> ::..;,,[ •• -. .... - ...•..... ., - -. <e:» - -~
Sixth Etude
- 1
413
. I ~ ~.
54

57. Scale of G Major
226.
•• - -
r, ft· ~ _
",V •••. "'"
eJ
~ ~ ,., Vr: ,.,V ,., ,., Y ,., v/', ,.,V/", ,., Vf"..
B·~~~-~~~~'~-§~~~~'~~~~~~~~~'~~~~'~~-~~'~~-~~'~~-~-_ •..••.. - r-.--I... _ •.. , tJ I -J =ii -~ • '--' .•. I .• ' • I
., ~ '~ n - 4
" •• ~ . '" •• ~ ~ • r
""
. ~ • x,v' - eJ
~ ~ , , , , ,
r- .-I _ r- r- _ .-I .-I _ r- _ .-I .-I _ r- .-I - • X,V - - ....1- - - ....1- - - - ....I _ - eJ I I , I I - • I .-
- - r- __ - r- _ • r
""
Scale of G Major
Preparation ,'e~u :~o :~
~:~~o :~
Broken Chords

58. 230. Nearer my God to Thee
3
A
" , ~ I I
~ ,.. .... - -. r " r- - . .-I l- •• .-I
lJ - - f), I -- ~ - (;.I I I - ~
r, '- "lJ .-I" - ••••
'f) .L! -4i-.-,j - ·4 (;.I --,J - .L:.i '-1
~ ~ ~ ~ ~
B
, " o ~ 3 4 I -3 -~ - --" .4 ,..
"" .-I" -i - ~ .-I •• XV - .-I ~ ..., - f) ~- ...,
# r- I- - P-r.
~ <::> r " ~
~ - f) ~ (;.I 4 -d- '. I I I I I
-. - -r>.
....
•• -. # - r.
r- -" P- I-xv
"" o 4 4
Exercises for Crossing the Strings
===-==~:I
- :1
it ~ - :~f--------,-~ JII
iHj ~ _~t:::==_~:I
56

59. Whole bow
. r-I
.~. ---......
~=~~= -====== 1•-1--=, ':~,......()'"-----=- ' . :1
238 ,., r> r-. .....--
~
••
239. Springtime
A
~ 1' ~,. ~ 3 ,... V I g ~3 v .>: . . - - - - - , .- - tJ - - ~ ~ I I I I ~ ~ ,I .
~ -- -- I
~ '"' v .,., V I - ,... - ...• ...• - ...• ,.. ~ v - - - r.J ,tJ • ~ -U ~ ~ . .- ...-.--r- B -
.---. -. -. I
57

60. . I I --I
- . "eJ ~----'! I ~ ---- ~ - .-- .--. -" . ~ .... - -..-j
2
3
I I · ~ - ....
----
., I
~ - r- -. .
....
- I I
I .." T "
.- eJ I ----
~ ~
1 ~ V
I
-41"
-
1
,
? -4f-4f ·1
I' " . -. ~-. "'; ." v
'1111!' •• ---- ---- "fJ •• ••
.1
", 2 3 '"' h
U - -
~
",
. ~ . ~ ~ I ------ '-'
", .... .• - .... • - ~- .. ..~ .. •
....
1'. '" - - - ~t-.
• ..~ .. •
,I.f fJ • • • •
s 3 ·- 0 o ,0 0-. " , ~ ••• - r- - / 7 " . . I I - ~ -~ I ~
1
eJ
~
'"' V ••• -
,,~ I' ..-j " " v -,f -If - -t! -If · . .
I ~ CO t. t. .~
240. The Burgomaster
Swedish Song
~. . ~. .
o
58

61. o
3
2
o V
Skips across one or two strings
V
~~I 1--
~~~:~
~-~U~
~2 V
~~O :If ~r-------7o :11
1) at the Nut
Exercise for change of bow
at the Nut and Tip, developing flexibility of the wrist
~----=i •• :~
9

62. B
244. Dolly's Little Minuet
A
o
@) I 1'- -- •• ..• =4i -
" J.I, 3 ~~ 1
ill .... - - - -, , - lS , .-I - - - r r- I I • '" .-I - r- • .~ T ."..- .
0 ...
,
.. " J.I, .-. - - - - .. .. r-l oWl , , ,~ I -. I • '-' '" •
IT .-I 'cV -+- • • - -I
=4i ... ••
•
o
1
•
• , I
2 1 o I l. .- 11 2.
•• ••

63. Exercise across two strings
at the Nut ,.,
•• ••
) at the Tip
••
o
••
u
0 ,., ,.,
•• ••
U U
Exercises for different Dynamic Expression
forte: Play nearer to the bridge with slightly increased Bow-pressure.
Piano: Play nearer to the fmgerboard with diminished Bow-pressure.
61
••
••
••
••
••

64. frorte piano
I I I I n I 0
rr::- e- n e-n
0 0 te piano e- n
0
0
0 ()
I I bt-44J I
I
r~te piano
I
0
I
n
I I I I I 0 0 0 () 0
rr~:e piano
I ~ F? I 0 e- O e-- - - O n
Scale of E minor
~~ :~n :1
255. ~~t t 1£ r 10 :lI§!~ *=t
i~~~
62

65. TEQHNrQUE 1)EtJELOPHENT
D Major scale
D Major broken thirds
D Major scale
1 •JJ•. - n n - - I. ,. -....~ ~ , .~.• - '-~ ..•. r: I• 1- =r ~:;. I.
~'17 'T ."'" '" ~ ~.•. I.
f) - ~ ""l: -6 t. ... t. -6 ""l: ~ -
""l'.j ""l'.j
G Major broken thirds
Major scale
Major broken thirds
Play the scales and broken thirds with the rhythms and bowings listed on the next page. Be sure to play these
I'byIlhms and bowings with good bow division.
63

66. BOW DIVISIONS
Whole Bow = W.B. Upper Half = U.H. Lower Half = L.H. Middle = M.
4 2 3
4 4 4
1. J J J J 9. J J 17. J J J
r-I , r-I ,
2. J ~ J ~ 10. d 18. d.
3. d J J 11. J 19. J nJ
4. J J d 12. nJ 20. J J n
5. JmJ J 13. nn 21. nJ J
6. J. J. J. J 1"4. J J 22. J J J • • . . ------ ---- ~ -----•----•
7. J J J J 15. J J 23. J ~ . J ----- • • .---. "-' ---------
8. Slur 4 notes 16. Slur 2 notes 24. Slur 3 notes
64