Hans Sitt Violin book 3

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STUDIES FOR THE VIOLIN
BY
HANS SITT
Op. 32
REVISED EDITION
With Fingering, Bowing Variants, and
Explanatory Remarks
by
EUGENE GRUENBERG
Book I. Twenty Studies in the First Position.
Book II. Twenty Studies in the Second, Third, Fourth
and Fifth Positions.
Book III. Twenty Studies in Shifting (Changing of
Positions)
.
EDITOR'S PREFACE
The Studies for the Violin, Op. 32, by Hans Sitt occupy
a conspicuous place among the excellent works of the
present day. As with the majority of violin exercises,
they are principally devoted, according to the author's
statement, to the development of the left hand. In pre-
paring this new and revised edition the editor has therefore
sought to offer the student an exhibition of all desirable
varieties of bowing.
It is evident that these exercises, although originally
planned for beginners, will also be of great value to the
advanced player, giving him a welcome chance of prac-
ticing even the most difficult varieties of bowing under as
agreeable and comfortable conditions as may be.
In the last four exercises of the first book the dashes,
indicating which fingers are to be kept down, have been
intentionally omitted, in Order to allow the pupil to prove
on the spot how well the disciplining of the fingers has
succeeded in making him obs rve one of the most impor-
tant, and also most neglected, rules of violin playing.
Naturally the variants of bowing will have to be selected
in every case according to the particular grade and ability
of the pupil.
Boston, February 1, 1905
EXPLANATION OF SIGNS
AND HINTS IN REGARD TO BOWING
The short dash, applied to single notes, calls for
a sustained stroke with little bow.
Several dashes, connected by a slur, indicate a
sustained staccato.
Dots, indicating a short and dry tone character,
are used in connection with the following strokes:
Hammered, artificial spiccato, natural spiccato,
hammered spiccato, and when connected by means
of a tie or slur, also the following: Staccato,
ricochet, French (flying) staccato, tremolo, and
arpeggio. Dots, connected with a slur, mean,
as a rule, staccato, unless otherwise indicated.
The combination of dash and dot means simply
a sustained stroke, slightly abbreviated, before
the next note is begun. This is accomplished
by a quicker stroke and by an instantaneous
halting of the bow after each note, without
lifting it from the string.
When connected by a slur, the dotted dashes mean
a sort of sustained staccato, viz., a little drier in
character than that mentioned above.
To retain a finger (hold it down), after it has
been used, e.g.:—
To place a finger simultaneously on two strings,
e.g.:—
WB Whole bow.
UB Upper bow.
LB Lower bow.
MB Middle bow.
Pt. At the point.
Fr. At the frog.
The Strokes and Their Characteristics
Of a singing, mellow, carrying tone char-
Short, dry, explosive, heavy tone char-
Short, elastic, light-weight tone
Sustained.
acter.
Hammered.
acter.
Artificial spiccato.
character.
Natural spiccato. The same, still lighter tone character.
Legato. Of a sustained tone character.
Semi staccato. Half-legato.
Staccato. Brilliant, fascinating tone character.
Hammered spiccato. Violent, powerful, clumsy tone
character.
Ricochet.
French staccato.
Tremolo.
Arpeggio.
There are only three kinds of fundamental strokes:
The sustained (or singing), the hammered, and the spring-
ing stroke (spiccato). All the other strokes are either
modified or combined derivations.
Joyous, reckless, and graceful tone
character.
PRACTICAL HINTS
BY THE EDITOR
This book is devoted to the introduction of two new
elements, shifting and sliding. It did not appear, there-
fore, advisable to increase difficulties by a display of many
bowing variants, but to select only a few of the simplest
character.
Only the student who is well acquainted with the first
five positions, as exhibited in Book II, will be able to solve
successfully the two problems mentioned above.
A brief explanation of the terms position and shift-
ing, as well as a few leading hints in regard to the hand's
attitude in the different positions, having been given in
the second book, it remains now to throw some light
upon the two tasks confronting the student in this volume.
In shifting, the hand must be moved as a whole, and
without bending the wrist, together with the forearm,
from the elbow joint.
A very important and characteristic feature of the shift-
ing is the sliding of the finger tips. The action of shifting
is not necessarily, although often, connected with the
action of sliding. The latter, however, is to be treated
differently in different cases, depending on the question
whether it is to be merely a means of shifting, or an
intended effect.
In the first case, the finger tip entirely avoiding any
hard pressing during the action of sliding, the result ap-
pears to be more a sort of skipping than of sliding; for the
latter becomes almost imperceptible to the ear, owing to the
hand's sudden shifting and the finger's light-weight action.
It is quite different in a case where a so-called sliding
effect is demanded. Then the process of sliding requires
a more or less increased pressing power of the finger
tips— more in passages of a passionate nature, less in others.
It is easy to understand that the shifting process of the
hand will be considerably slower in a sliding effect than
in a mere change of position, which, as hinted before, is
executed by a very sudden, skiplike motion.
The sign indicating a sliding effect is a line, either
straight or curved, applied to a figure corresponding with
the finger to be employed.
It is customary to place this fine before as well as after, and
also above or below the figure indicating the sliding finger.
There are three kinds of sliding effects in use : —
(i) The finger, applied to the first note, is sliding, after
which some other finger, somewhat hitting the string,
will occupy the place of the second note, e.g.:—
The first finger must slide until the position of the next
note (G) is reached,— viz., it will slide up to the tone D.
This, however, must not be heard, as in that very moment
the fourth finger has to fall down by stopping the required
note.
In going down from a high note to a.lower the sliding
must again be done with the finger applied to the first
note; but after reaching the desired position, it must also
produce a sort of picking the string, and, in fact, of the
concluding note, e.g.
:
—
o<*> i
(2) Both notes being played with one finger, the same
finger will, of course, produce the sliding, e.g.:—
(3) The sliding is done by the finger devoted to the
concluding note, e.g.:—
Making audible the note at which the sliding finger
begins its action must be avoided.
When the two notes, connected by a portamento (viz.,
sliding effect), are not slurred, the second stroke must in-
clude the portamento, e.g.:—
^g^^E^#g&iP^a
1 (1^)4 4 (4^)1 2(3^)2 2 (2-^)2 3 (4-')4 4 (»->) 3
The difficulty here arises from the fact that the
second stroke must really begin with the sliding, without
making audible the little grace notes which are printed
above. In the first attempts, however, it will be well to
play the grace notes distinctly.
As a general rule it is advisable not to press too hard
with the sliding fingers, and to hold the same considerably
less vertical than usual, in order to bring the lower, flesh-
ier part of the finger tip in touch with the string.
Eugene Gruenberg,
Boston,February i, 1905.
Studies for the Violin
BOOK III
STUDIES IN CHANGING POSITIONS
3
Edited bu ET1GENE GRUENBERG
1st & 2d POSITIONS
HANS SITT, Op. 32, Book III
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1.25
VIOLIN STUDIES
VIOLIN SOLO
FOUNDATION EXERCISES FOR THE VIOLIN.
By Eugene Gruenberg i>ostj>aid
Daily exercises to aid in solving the v?
important subjects have been selected f
Has been introduced in leading Music
SCALES AND CHORDS FOR
By Eugene Gruenberg
Complet' Ditson Edition,
Book I. The First Positio
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Highly recommended by Mr. Fritz F
TWENTY- FIVE VIOLIN E>
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Thirty-six Exercises in ;
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.50
.60
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