Carl Flesh - Sistema de Escalas [Viola]

8/20/2019 Carl Flesh - Sistema de Escalas [Viola]

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Scale system.



MUSIC

LIBRARY

UNIVERSITY

OF

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.

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B.

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Adapted

for

the

VIOLA

by

CHARLOTTE

KARMAN

6.00

Also

published

for

the

Violin

Carl

Fischer

INC.

62

Cooper

Square,

New

York

10003

BOSTON

•

CHICAGO

•

DAUAS

•

IOS ANGEIES



m

^j^^ê^t^Lbt



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Britain,

C

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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.

gg

62

Cooper Square, New

York

10003

tg S&TB

BOSTON

•

CHICAGO

•

DAUAS

•

IOS ANGSIES

MUSIC

LIBRARY

02921

OF

CONNECTICUT



Copyright

1942

by

Carl

Fischer,

Inc.

New York,

N. Y.

international

Copyright

Secured

Printed in

U.

S. A.

•



FOREWORD

Until comparatively

recent

times very little

had

been written

for

the

viola as

a

solo

instrument.

Our

contemporary

composers

have

done

a

great

deal

to remedy

this

situation.

Bax,

Eereôwsky,

Bliss, Bloch,

Delius,

Hindemith,

Honegger, Milhaud, Vaughan Williams,

Walton

and

many

others

have

contributed

important sonatas,

suites

and

concertos

for

the

viola.

Many

new works

are constantly being added.

This new

literature has

placed

new

demands upon

the

violist, who

in the

past found

a place

only as

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

violinists

the

world over, would be equally

valuable

to

violists

ii

translated

into their

medium.

I

have

undertaken

this

task with the

encouragement

of

Professor

Carl

Flesch. The

publishers and

I

hope

that it will

be found

useful by

performers

and

teachers

of

the viola.

Charlotte

Karman

New

York

October

1941



-PREFACE-

Long

years

of

practical

experience

have

strengthened

my

conviction that

the

Scalesystem *

provides

the

best

time-saving

method

of

developing

one's

general technique.

To

derive the

maximum

benefit

from

these

studies it

is

essential

that the

following

suggestions

be

observed:

I.

This

system

of

scales

is

comprised

of

exercises which

are

of

service

for both

intonation

and

facility—

therefore

for

perfecting

the

intonation

they

are to

be

practised slowly,

for acquiring

facility

they

are

to

be

practised

rapidly.

II.

The

scales

should

be

studied

in

a

different

key

every

day so

as

to go

through

the

entire book

progressively.

III.

The

Harmonic

form

of

the

minor

scales in

double

-stops

is given

preference

over

the

Melodic

form

for

the

reason

that

it

employs

the

important

interval

of the

augmented second

which

is

frequently

neglected.

On

the

other

hand, the

simple

minor scales

are

presented in

the melodic

form

and

both

varieties

have been

combined

in the

scales of broken

thirds.

IV.

To 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:—

ra

r r

*

r r r

m

and

m

and

m

and

~y

^

V.

It

is

suggested

that the student

add

various

dynamics

to the

scales and

chord

progressions,

VIZ.

p

f

,

^-

t

»

~~~~^^.

IIP

p

-

m

-

m

1

—

P

[

|

t~

|~

'

'

T f~ F

1

-IM^

T

J

J

J

rj

J

Lm^b**

1

=#=

VI. A few

exercises

in

harmonics

are

added

at the

end

of

each

scale

group.

This

form of

tech-

nique 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.

VII.

The customary

marks

are

employed in

indicating the

use of the

bow,

viz:

W.B.-

—

whole

bow

H.B.

—

half-bow

M.

-

—middle

bow

P.

—

the tip

(point)

Fr.

—

the

nut (frog)

Carl

Flesch

*1

am

using

the

word

System

here

for

want

of

a

better

one

and

against

my

inclination.

It

is

merely

meant

to

denote

a

practically

tested

form

and

not

by

any

means

a

rigid,

unelastic

method

of practising,

which

is

always inimical to

genuine

artistic

delivery.

The

prerequisite

of

true

artistry

U

entire

freedom

from

all

and

every

kind of

System.



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is

Copyright

1942

by

Carl

Fi>.

cher,

Inc..

New

York

International Copyright

Secured

Primed

in

i

S

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FAMOUS

COMPOSITIONS

ARRANGED

FOR

VIOLA-

PIANO

FIRST

AND THIRD

POSITIONS

BERCEUSE

(B 2351)

A.

Jarnefelt

CAVATINA (B 1392)

J.

Raff

LE

CYGNE

(The Swan)

from

Carnival of the Animals (B

1393)

C.

Saint-Saens

NONE

BUT THE

LONELY

HEART

(Nur

wer die

Sehnsucht kennt),

Op,

6,

No.

6

(B

2352)

P.

Tchaikovsky

POEM,

Op.

31a

(B

2675)

,

G.

Read

SONG

OF

INDIA from

Sadko (B

2350) N.

Rimsky-Korsakoff

VOICE

OF

LOVE

(Evening Serenade) (B

1394)

R.

Schumann

HIGHER

POSITIONS

ADAGIO from Toccata in C.Major for Organ

(B

1950)

J. S.

Bach

*AO

PE

DA FOGUEIRA

(Preludio

XV) (B 2673)

Valle-Heifetz

CELEBRATED

AIR

(Air

on the

G

String) (B

1383)

J.

S.

Bach

*HORA STACCATO

(B

2671)

Dinicu^Heifetz

*HUELLA

(B

2672)

Aguirre-Heifetz

HUMORESKE,

Op.

101,

No.

7

(B

1390)

A.

Dvorak

*JEANIE

WITH

THE LIGHT

BROWN

HAIR

(B

2674)

Foster-Heifetz

KOL NIDREI,

Op.

47 (B

1385)

M. Bruch

NOCTURNE

in

Eb,

Op.

9,

No. 2

(B

1386)

F. Chopin

ORIENTALE from Kaleidoscope

Op.

50,

No.

9

(B

1387)

....

C.

Cui

SERENADE

(B

1389)

R.

Drigo

*SOFT

STRAINS OF

MUSIC DRIFTING

(Wie

Melodien zieht

es

mir),

Op.

105,

No.

1

(B

2680)

J.

Brahms

*SOLFEGGIETTO

(B

2683) ,

C.

P.

E.

Bach

*24th CAPRICE

(B

2681) N.

Paganini

*

Arranged

by

William Primrose

Carl

Fischer

;

INC.

62

Cooper Square,

New

York 3

BOSTON

•

CHICAGO

•

0.60AI)

rfGA

;









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