Cyclic fingerings for arpeggios and scales for the violin

Item Type text; Thesis-Reproduction (electronic)

Authors Ridgely, Charlie Vere, 1886-

Publisher The University of Arizona.

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CYCLIC FINGERINGS FOR ARPEGGIOS AND SCALES

FOR THE VIOLIN

by

Charlie V. Ridgely

A Thesis

submitted to the fa c u l ty of the

Department of Music

in p a r t i a l fu lf i l lm en t of the requirements fo r the degree of

MASTER OF MUSIC

. in the Graduate C ollege, University of Arizona

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TABLE OF CONTENTS

CYCLIC FINGERINGS GF ARPEGGIOS (Major and Minor Triads)Page

A. ROOT POSITIONS................................................................. . ..................... 1

(A-l) With the f i r s t f inger on the chord roots and f i f t h s . . .(A-2) With the second f inger on the chord roots and f i f t h s . . .(A-3) With the th i r d f inger on the chord roots and f i f th s . . .(1-U) With the th i rd f inger on the chord roots and f i f th s . . .

(Roots -with f i f th s in th i s type are not fingered . . .as double s tops .) .........................................................................

(A-5) A spread of th ree f u l l octaves and in some casesfour f u l l octaves i s permitted with one departurefrom the cycle .................................................................................

(A-6) DOUBLE STOP POSSIBILITIES using the fingerings of(A-l,2 ,3 ,li,S) .................................................................................

(A-7) With the fourth f inger on the roots and f i f t h s .....................

B. FIRST INVERSIONS

(B-l) With the f i r s t f inger on the chord t h i r d s .............................(B-2) With the second f inger on the chord th ird s . . . . . . . .(B-3) With the th i r d f in g e r on the chord th ird s .............................(B-lt) With the fourth f inger on the* chord t h i r d s ............................ 10

C. SECOND INVERSIONS

(C-l) With the f i r s t f inger on the chord f i f t h s ............................ 10(C-2) With the second f inger on the chord f i f t h s ......................... . 11(C-3) With the th i r d f in g e r on the chord f i f t h s ............................ 11(C-U) With the fourth f inger on the chord f i f t h s ............................ 12

D. DOUBLE STOP POSSIBILITIES from the fingerings of sections (A,B,C) 12

E. RESUME AND SIMPLIFICATION of Sections (A,B,C and D . ) .......................... 12

F. THE USE OF "HELP TONES" ( fo r ascending arpeggios) ..................... . lit

G. THE USE OF "HELP TONES" ( fo r descending arpeggios) ............................. 1$

H. DOUBLE STOPS (using fingerings of sections F and G ......................... 16

I . DIATONIC SCALES AND CYCLIC FINGERINGS..................................................... 17

- ( l - l ) Ascending Major Scales ... ............................................................ 17(1-2) Descending Major S c a l e s ................................................................ 18(1-3) Melodic Minor Scales ................................................................ 18(l-Ii) Harmonic Minor Scales ................................................................ 18(1-5) Examples of cyclic fingerings of extended s c a l e s ................ 18(1-6) The Milder Major Mode and Cyclic F in g e r in g ............................ 19( l -7 ) The Pentatonic Scale and Cyclic F i n g e r i n g ............................ 19

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J . LIMITING FACTORS.................................... 20

( j - l ) Seventh chords of the major m o d e .......................... 20(J-2 ) Seventh chords of the harmonic minor mode . . . . . . . 21(J-3) Seventh chords of the melodic minor m o d e .......... 22(J-li) Seventh chords of the milder major mode .......................... 22

K. CYCLIC FINGERINGS FOR AUGMENTED TRIADS. (A scend ing)................... 23

L. CYCLIC FINGERINGS FOR DIMINISHED TRIADS. ( A s c e n d in g ) ................. 2J

M. CYCLIC FINGERINGS FOR DIATONIC AUGMENTED TRIADS. (Descending) . 2k

N. CYCLIC FINGERINGS FOR DIATONIC DIMINISHED TRIADS. (Descending) . 2k

O. AUGMENTED AND DIMINISHED FOURTHS AS HELP TONES » * ..................... 2$

P. AUGMENTED'AND DIMINISHED FOURTH DIRECT SHIFTS ............................. 26

Q. CYCLIC ARPEGGIOS AND SCALES WITH EMBELLISHMENTS............................. 26

(Q-l) Auxiliary notes o ................................................ 26(Q-2) T r i l l s 27(Q-3) Appogiaturas ........................................................................ 27(Q-U) Surrounding tones .................................................................... 27(0-5) Passing notes ................................................................... 27(Q-6) Added tones 28

R. CYCLIC FINGERINGS FOR SCALES IN DOUBLE STOPS.................................... 28

SUMMARY 0 o o . . . . . . ................................................................................. 29

I l l

A STUDY OFCYCLIC FINGERINGS OF DIATONIC ARPEGGIOS AND SCALES

FOR THE VIOLIN

INTRODUCTION

There has long been a need fo r some simple devising which would permit

bowed s tr in g in s trum en ta lis ts to take advantage of re p e t i t iv e o r cyclic ma­

neuvers, by the octave, in extended scales and arpeggios.

The prevalent fingerings fo r such passages through two o r three octaves

has each octave fingered d i f fe re n t ly and with g rea t v a r ie ty of place o f

sh if t in g and of the sh if t in g in te rv a ls . The "muscle memory* required to do

any three octave scale o r arpeggio on a bowed s tr in g instrument i s qu ite a

f e a t . The p rec ise physical and au ra l controls f o r each p itch and each s h i f t

are most demanding. I f the time element requires grea t speed the problem

approaches the impossible©

Every musician wishes to be ab le to ."get over" h is instrument with ce­

l e r i t y . But l i f e and patience are too short f o r most o f us to have time to

acquire good scale and arpeggio technic from the usual instructions© I t i s

notable th a t a very low percentage of v io lin students progress to an a b i l i t y

eqpal to the needs of elementary so los,, ensembles o r orchestras© There can

be a m u lt ip l ic i ty of reasons why any p a r t ic u la r student drops h is instrument;

but a very common cause could be a t t r ib u te d to lack o f techn ica l promise from

fa i lu re s to manage prescribed bu t not too well organized fingerings© The

study of an instrument as intim ate and d i f f i c u l t as the v io l in demands suc­

cess of sa t is fa c to ry accomplishment from the drudgery of p rac tic ing endlessly

the conventional fingerings as exemplified by Schradieck, Hrimaly and a host

of o thers .

This harassing s i tu a t io n has long p e rs is ted .

IV

The w r i te r has been in charge of school and college music departments fo r

many years and fe e ls th a t the foregoing techn ical d i f f i c u l t i e s explain to some

extent why good school and college orchestras are so few, and the elimination

of p o te n t ia l ly able students i s so frequent.

The w r i te r ’s many years of teaching gave him cause and opportunity to get

v io l in students and orchestras over t h e i r instruments.

The devices here l i s t e d have been successfu lly used with indiv iduals and

groups. Written descrip tions o r explanations can not have the m erits of per­

sonal demonstrations nor of pe rscrip tions to f i t needs as they appear.

This th e s is does not pretend to be a panacea fo r a l l the troubles of

v io l in i s t s . I f i t removes, f o r some, one se t of stumbling blocks and discour­

agements i t w i l l have served i t s purpose.

ARGUMENT

The fingerings and sh if t in g s here l i s t e d are conventional with the excep­

t io n of some uses of "extensions."

The groupings of those fingerings and sh if t in g s together with applica tions

in ways of doing arpeggios and scales are o r ig in a l . Another claim to o r ig ina l­

i t y and ingenuity i s the compact way in which many of the m ateria ls and problems

are tabu la ted .

P ro tes ts from those in s tru c to rs and players who were reared in the "old

school" are an tic ip a ted . The condemnation of anything a t variance with respect­

able age and hab its i s to be expected.

( I t i s hoped th a t the examples are adequate fo r t h i s type of th e s is . I t

i s my in ten t to expand-the examples and copyright the m ateria ls herein fo r pub­

l ic a t io n . )

CYCLIC FINGERINGS o f ARPEGGIOS f o r th e VIOLIN

A -ROOT POSITION MAJOR and MINOR TRIADS:( A - I ) w i th t h e F i r s t F in g e r on th e ROOTS"and Chord F i f t h s . and w i th D i r e c t S h i f t s by th e F i r s t F i n d e r .(Roman n u m e ra ls r e f e r t o s t r i n g s . A r a b i c f i g u r e s r e f e r t o f i n g e r s . )( I -------- The s t r i n g re m a in s f i r m l y s to p p ed by th e numbered f i n g e r t o th eend o f th e l i n e . )

-rj -------- The f i n g e r s to p s two s t r i n g s t o th e l i n e s e n d . )

( f ) -M e a n s t o s h i f t . T h e f i n g e r g l i s s a n d o s w i th f i r m and s t e a d y p r e s s u r e .

i I S I g I IS I I S II S II I — TV—I I —— I l l —IV—

N o t e . I . A l l d i r e c t s h i f t m ajo r and m ino r t r i a d s done w i t h t h i s ty p e o f c y c l i c f i n g e r i n g r e q u i r e p e r f e c t f o u r t h s h i f t s . P r e l im i n a r y e x e r c i s e s f o r e a c h o f th e f o u r f i n g e r s a r e i n d i c a t e d , u s i n g th e p e r f e c t f o u r t h a b o r t w hich t o d e v i s e o r i g i n a l e x e r c i s e s . A few sam p les f o l lo w .

I l l ————— I I ———— I I I ————— . I I ———— I I I ——I I —————— I I I ——

N o t e .2 . Though d i f f i c u l t f o r m ost v i o l i n i s t s , t r u e p e r f e c t f i f t h s a r e nm v s ts n f o r m a jo r and m inor t r i a d s . I t i s s u g g e s te d t h a t th e f o l lo w in g exam ples f i r s t be ch eck ed f o r i n t o n a t i o n . A f t e r w a r d s , e a c h f i n g e r sh o u ld be exam ined i n i t s t i p ' s p la c e m e n t on th e s t r i n g s . In m ost c a s e s th e r e a s o n f o r f a u l t y f i f t h s w i l l be o b v io u s .

2 2 3 4 4 4. I I 2 2 3 4 4

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I IIV I I I I I IV I I I I I IV I I I I I IV I I I I I IV I I I I I IV I I I I I

N o te . 3 . One r e a s o n f o r bad f i f t h s i s t h a t many f i n g e r t i p s when p r e s s e d upon two s t r i n g s have e l i p t i c a l sh ap ed pads w hich do n o t have t h e i r a x e s a t r i g h t a n g le s t o t h e s t r i n g s .

One rem edy i s t o p u t more p r e s s u r e on th e p la c e f o r th e p i t c h w h ich seems to o low . T h is .c a u se s t h e t i p t o s p re a d a t t h a t p l a c e c o v e r in g more s t r i n g , t h u s r a i s i n g th e p i t c h .

A no the r e f f e c t i v e rem edy i s t o e l e v a t e t h e l e f t w r i s t , i n w hich p o s ­t u r e t h e f i n g e r s w i l l s t r i k e th e s t r i n g s a t an a n g le to w a rd s t h e palm o f th e h a n d .T h is w i l l s t r e t c h th e lo w e r s t r i n g , r a i s i n g i t s p i t c h .

2The s p r e a d in g o f t h e s t r i n g s to w a rd s th e b r i d g e makes d o u b le s to p p e r f e c t

f i f t h s e x t r e m e ly d i f f i c u l t i n th e h ig h e r p o s i t i o n s . F o r t h e m , l a r g e f i n g e r t i n s have a d v a n ta g e . A p o s s i b l e remedy f o r t h i s i s t o have th e n u t and th e b r id g e so n o tc h e d t h a t t h e s t r i n g s a r e n o t so d i v e r g e n t .

N o te .4 . The above exam ples sh o u ld be done w i t h e x a c t l y t h e same f i n g e r s and on th e same s t r i n g s a s th e t r i a d on page ( l ) . A l l r o o t p o s i t i o n m ajo r and m inor t r i a d s , s t a r t i n g w i t h th e v i o l i n ’ s low Ab and up to t h e secondl i n e G ,sh o u ld be done i n t h i s m an n e r . P r a c t i c a l i n t e r e s t may be m a in ta in e d by u s in g a v a r i e t y o f te m p i , rh y th m s and b o w in g s . S l u r s a c r o s s th e s h i f t a r e a lm o s t n e c e s s a r y f o r f i r s t p r a c t i c e , a s t h e s t r i n g l e n g t h o f th e s h i f t i s t h u s c h e c k e d .

In t h e above e x a m p le s , th e f i n g e r s ' s p re a d o r s p a n ( 1 s t t o 3 rd f i n ­gers)) v a r i e s g r e a t l y . T h e second m e a s u r e s ’ span b e in g n e a r two t h i r d s t h a t o f th e f i r s t m e a s u r e s . The t h i r d m e a s u r e s ’ s p a n ' a r e n o t q u i t e one h a l f t h a t o f t h e f i r s t m e a s u r e s .T h is o f c o u r s e f o r e a c h t r i a d .

(A- 8 ) Second f i n g e r on th e r o o t s and c h o rd f i f t h s . D i r e c t s h i f t s w i t h t h e second f i n g e r (The i d e a s o f ( A - I ) a p p ly .

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4(A-3 ) T h ird f i n g e r on th e r o o t s and cho rd f i f t h s .

In o r d e r t o com ply w i t h an i m p l i c a t i o n i n ( A - I ) a n d ( A - 2 ) , t h a t th e f i f t h s be done a s d o u b le s t o p s ^ i t w i l l be n e c e s s a r y in t h i s ty p e to f i n ­g e r t h e c h o rd t h i r d s w i t h th e e x te n d e d f o u r t h f i n g e r .

(A-4) T h ird f i n g e r on th e r o o t s and cho rd f i f t h s . T h i s manner d o es n o t vse t h e e x te n d e d f o u r t h f i n g e r n o r a r e t h e r o o t s and f i f t h s done a s d o u b le s t o p s .

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Fo r t y p e ( A - l ) t h e f o u r t h f i n g e r i s a d d e d .For t y p e ( A - s ) The f o u r t h f i n g e r i s e x t e n d e d .For t y p e s (A -3 )a n d (A - 'i ) a d o u b le f o u r t h f i n g e r e x t e n t ! o n i s n e c e s s -

. a r y .One exam ple o f e a c h ty p e f o l l o w s .

7(A -6 )Double S top o c t a v e s , p e r f e c t f i f t h s , m a j o r and m inor t h i r d s and m ajo r and m inor s i x t h s a r e c o n ta in e d i n t h e f i n g e r i n n a r r a n g e m e n ts o f (A -1 .8 ; :5 ,4 and 5 ) .E x a m p le s ; -----

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( A -7 )F o u r th f i n g e r on r o o t s and cho rd f i f t h s . T h is ty p e d o e s n o t p e rm it t h e d o u b le s t o p f i n g e r i n g s o f t h e p e r f e c t f i f t h s i n s i n g l e v o ic e c r p e g -

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(C-4) W ith t h e f o u r t h f i n g e r on th e c h o rd f i f t h s and r o o t s .W ith d i r e c t s h i f t s on th e f o u r t h f i n g e r .

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A ^ 3 3 4 HA l l o f th e tw e lv e m odels r e p e a t i n th e o c ta v e and th e d o u b le o c ta v e

a b o v e . The o n ly d o u b le s to p s p o s s i b l e w i t h t h e s e f i n g e r i n g p a t t e r n s a r e o c t a v e s , p e r f e c t f i f t h s , m a j o r t h i r d s and m inor t h i r d s .

(E) RESUME and SIMPLIFICATION o f SECTIONS (A,B.C and D) o f C y c l ic F i n g e r ­in g s (by th e o c t a v e ) o f M ajor and Minor T r i a d s f o r th e V i o l i n .

Twelve f i n g e r i n g a r r a n g e m e n ts have been c i t e d , t o g e t h e r w i t h s u g g e s t i o n s o f p r a c t i c e n e e d s o f a t t e n t i o n t o i n t o n a t i o n , r h y t h m s e t c . , w h i c h may be e x ­p e c te d t o im prove r e c o g n i t i o n , t e m p i and a s s u r a n c e .

A l l o f t h e s e f i n g e r i n g a r ra n g e m e n ts have i n common th e d i r e c t s h i f t o f t h e p e r f e c t f o u r t h .T h e p e r f e c t f o u r t h i s n o t a problem f o r b e g i n n e r s .

(Some s u r p r i s i n g r e s u l t s have been h a d ,u s i n g c y c l i c f i n g e r i n g s , w i t h c h i l d r e n who have had a s l i t t l e a s s i x m onths i n s t r u c t i o n on v i o l i n . Ex­a m p le ;— Any one o f t h e tw e lv e a r r a n g e m e n ts was d r i l l e d f o r a few m om ents; - t h e p u p i l was a sk e d t o r e p e a t th e p a t t e r n u p w a rd s ; -a n d th e t h i n g was d o n e . In t h i s scheme a u r a l r e c o g n i t i o n and p h y s i c a l a d a p t a b i l i t y a r e m i l e s ahead o f th e v i s u a l r e c o g n i t i o n o r u n d e r s t a n d in g o f t h e n o te s y m b o ls . )

S i m p l i f i c a t i o n ; -O n ly f o u r c o n t r o l g ro u p s a r e n e c e s s a r y , f o r th e above p rob lem s i f c o n s i d e r a t i o n s o f rh y th m ic g r o u p in g s a r e d r o p p e d ,a s th e f o l l o w -

A rran g em en ts ( l ) (7r) (S) s h i f t w i t h t h e f o u r t h f i n ­g e r and u s e th e same f i n g e r s n o t e f o r n o t e .

A r ra n g e m e n ts ( 2 ) ( 8 ) ( 1 0 ) s h i f t w i t h t h e t h i r d f i n g e r and u s e t h e same f i n g e r s n o te f o r n o t e .

A r ra n g e m e n ts ( 3 ) ( 5 ) (IT ) s h i f t on th e second f i n g e r and u s e th e same f i n g e r s

_____________________________________________________ n o te f o r n o t e .Second i n v e r s i o n 4 S 4 2 4 — (9) A r ra n g e m e n ts ( 4 ) ( 6 ) ( 1 2 )f i n g e r i n g s . 3 S 3 I 3— ( 1 0 ) s h i f t on th e f i r s t f i n g e r

2 £ 2 - 4 2 — ( I I )and u s e t h e same f i n g e r s .________________________________ I S T 3 I — ( I 2 ) n o te f o r n o t e .

A no the r s i m p l i f i c a t i o n would be t o g iv e t h e m ost a c t i v e a t t e n t i o n t o t h e need o f a d i r e c t s h i f t on e a c h i n t e r v a l o f a p e r f e c t f o u r t h ' .T h i s m eth ­od i s s im p le r f o r b e g in n e r s who do n o t have t o c o n te n d w i t h f a s t t e m p i . .

i n g w i l l show. ^

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2 4 2 S 2 ------------------- (3____________________ I 3 I S I ---------------------44F i r s t I n v e r s i o n 4 2 S 2 4 ---------- (5f i n g e r i n g s . 3 I S I 3 ---------- (6

2 4 $ 4 2 ---------- (7I 3 S 3 I ---------- (e

.V

(F) -THE USE o f nHELP TONESnin CYCLIC FINGERINGS f o r ASCENDING ARPEGGIOS

IN MAJOR and MINOR TRIADS. :

J w i l l be u se d h e re a s th e symbol f o r th e h e lp t o n e s .In t h e s e exam ples t h e " h e l p to n e " s h o u ld be made i n e a c h c a s e w i th th e

same f i n g e r w hich made t h e l a s t n o te i n t h e o ld p o s i t i o n . l t i s a d v i s a b l e t h a t e a c h s h i f t t o a h e lp to n e be a d i a t o n i c p e r f e c t f o u r t h ; a s t h o s e f o u r t h s w i l l be l e s s d i s t u r b i n g and more c e r t a i n t o be c o r r e c t l y h e a rd th a n augm ented f o u r t h s .

T h e " h e lp t o n e s nw i l l f a l l upon e i t h e r th e n o t e s a d e g re e above t h e ch o rd f i f t h s o r a d e g re e above th e cho rd t h i r d s .

-'A random c h o ic e o f t r i a d s f o r th e exam ples f o l lo w s in t h i s o r d e r .Root p o s i t i o n ------ t r i a d s s t a r t i n g w i t h f i r s t t s e c o n d , t h i r d , f o u r t h f i n g e r .F i r s t i n v e r s i o n t r i a d s Second i n v e r s i o n t r i a d s

T h is i s d i a t o n i c b u t awkward.

T iSiX I JS5X I )S1 Xu ----- ur------- r

km i i/ 3$) X I X,K -------- X ---------

is* , i 3 l 3 XiX l 3 xsx I 3 dz----— nr—— i t ------- x--------- *

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X 3 X M Mi k -----------m : ---------

Si x ^ ^^ 3S r5X ^ ZJj.w — nr-

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v 1 mil J 1 ntiL3 , i L«. 1 „ . , l7» % . . -I 45# 3 f 4S*3 I ♦ 'a-Si / H x IT--------TL------ - DL—Z'--------XA I 5 5 ) A l dH I ------- X

$11 j

5 ) iSX IM M ------- Z---- ^ " 4 4 . 3 S 3 * ' H 3 $ 3 t .31 nr----- 2:'

(G) THR USE of^HELP TONEG"ln CYCLIC FINGERINGS f o r DE.'CBNDIHG ARPRCHTOS

i n MAJOR and MINOR TRIADS.

T h e^ h e lp t o n e s " w i l l f a l l upon th e n o te a d e g re e below th e cho rd t h i r d o r t h e d e g re e below th e cho rd r o o t .

j W [,(1' r | J j 1 1 n ■’ IXSX 3 | 3T----— SS 3 H X 3 j 3 4 X

J T S* IS * 3m &■

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A.Z,-i-V f l l f i j - f l f t l l ^ l f m i

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(H) DOUBLE STOPS.USING th e SHIFTING and FINGERIT’GL EXPLAINED in fKCTrOVS

(F )and (G )|»qrf> c o n f in e d t o p e r f e c t f o u r t h s .malt o r and m inor t M r d s ar ' m a jo r

and m in o r s i x t h s . A few exam ples f o l lo w .

17

( I ) DIATONIC SCALES and CYCLIC FINGERING bv t h e o c ta v e .ASCENDING MAJOR SCALES.Examples w i l l s u f f i c e i f th e y a r e an o c ta v e o r more in e x t e n t .

To keep w i t h i n t h e p l a n ( t h u s f a r ) o f u s in g o n ly p e r f e c t f o u r t h s h i f t t h e s h i f t may s t a r t on any to n e e x c e p t th e su b d o m in an t .

The s c a l e p a ssa g e may s t a r t on any n o te o f t h e s c a l e , th e s h i f t s c an be made w i th th e t h i r d o r f o u r t h f i n g e r s .

Th l s l i t t l e c h a r t r e p r e s e n t s f f f f & e n m ajo r 4cey/, w i t h t h r e e f i n g e r i n g s f o r e a c h k e y . Some o f th e keys w i l l n o t g iv e p e r f e c t f o u r t h s h i f t s a s m a rk e d ;fo r e x a m p le , th e f i r s t s h i f t l i s t e d w i l l g iv e an augm en t­ed f o u r t h i n th e k eys of(A ) and (A b ) .

The same a p p l i e s t o t h e t h r e e f o l lo w in g c h a r t s f o r may be u s e d . .

4 t x 3 wx. 3 4w h ich any key s i ^ n a -

33 i f x 3 4|/|X.5 z & l f s t , 3 3 3 4 / *3 1 3 33 £ Z 4 33 1 X,3 l 3 u 1 1

I Z 32, / 1 3 u

mmj i t ]z 3 /,

8

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(1 -2 ) DESCENDING MAJOR SCAIiSf.The rem ark s o f ( I ) a p p l y , e x c e p t t h a t th e s h i f t s a r e t o be made wi t i ­

th e f i r s t and second f i n g e r s . •

(1 -3 ) MELODIC MINOR r-'CALi.r. The p ro c e e d in g n o t e s a p p ly .I f t h e s h i f t s a r e t o be d i a t o n i c p e r f e c t f o u r t h s , t h e shape o f th e

s c a l e form d i c t a t e s t h a t i n th e a s c e n d in g m elod ic form s h i f t s from th e m e d ia n t , s u b - d o m in a n t and th e l e a d i n g to n e a r e n o t u s a b l e ; a n d in th e d e s c e n ­d in g form th e s h i f t from t h e . s u p e r t o n i c i s n o t u s a b l e .

(1 -4 ) HARMONIC MINOR SCALfco. I n t h i s s c a l e form i t i s t o be n o te d t h a t th e a s c e n d in g s c a l e has augm ented f o u r t h s on th e subdom inan t and th e submed­i a n t and a d im in i s h e d f o u r t h on th e l e a d in g t o n e : - t h e d e s c e n d in g s c a l e has augm ented f o u r t h s below th e s u p e r t o n i c and th e l e a d i n g to n e s and a d im ­i n i s h e d f o u r t h below th e m e d ia n t .

(1 -5 ) Examples o f c y c l i c f i n g e r i n g s f o r d i a t o n i c s c a l e s w hich a r e e x te n d e d

j l t f J J -T| J l A I1, 331 X 3 4 I 3 1i , 3 i l X M I

I X 3 H I 133 13 I

31 *, 3

V 3 I n X f i ____! 11 C 4 4 t l 1 4 # LL 1 4 4 k 5 # *3 < x s q ifX— $ 3 Ik* i x i *3 i i 4 3 i) H i XX b 3 x \ k *> x x

F r u df. i n j 4 1, 1'r?M 3 ZZ4 1 z l ^ 3 3 ^ Tq 3 Z t t 3 ZZ 4- *> X i 3 Z, l

h=F

3 i W f 3 L A # 3 t I W ' z . ' x * 3 Z, l H 3

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The f i n g e r i n g c i t e d f o r th e above a s c e n d in g m e lo d ic u s e s th e low er su b m e d ia n t a s nh e lp t o n e t T h i s may be done a s r e a s o n a b le b o rro w in g w ithou t, d i s t u r b i n g th e t o n a l i t y .

( I - 6 ^The MILDER MAJOR M O D E ^ascending ,perm its d i a t o n i c p e r f e c t f o u r t h s h i f t s from th e t o n i c , s u p e r t o n i c , d o m i n a n t p e r f e c t f o u r t h s h i f t s a r e p e r m i t t e d and m e d ia n t .£ m m

and l e a d i n g t o n e ; - d e s c e n d i n g , - d i a t o m i c from th e t o n ic ,d o m in a n t , s u b d o m in a n t

r1 - m:m m

( I - T h e PENTATONIC SCALE:-Using th e p e n ta to n i c s c a l e w i th d i a t o n i c p e r f e c t f o u r t h s h i f t s p e rm i ts th e s h i f t s , i n t h e a s c e n d in g s c a l e , t o be fiN^m th e 2n d , 3 r d , 4 t h and f i f t h n o t e s ; — d e s c e n d in d , f ro m th e 2 n d , 1 s t , 5 t h and 4ph n o t e s .

/ 2 / 3 t x. X I S' * 3 ^ , /

20CYCLIC FINGERINGS FOR DIATONIC SEVENTH CHORDS.( J ) LIMITING FACTOR

(1) For th e p r e s e n t a l l s h i f t s a r e t o be d i a t o n i c p e r f e c t f o u r t h s .(2) B ecause o f awkward e x t r a c h an g e s o f s t r i n g s th e f i r s t f i n g e r w i l l

n o t be u se d a s a s h i f t i n g f i n g e r i n a s c e n d in g s e v e n th c h o rd a r p e g g i o s j n o r w i l l t h e f o u r t h f i n g e r be u se d a s a s h i f t i n g f i n g e r i n d e s c e n d in g s e v e n th c h o rd a r p e g g i o s . 4

(5) The seco n d f i n g e r can n o t be u s e d a s s h i f t i n g f i n g e r i n a s c e n d in g from th e c h o rd s e v e n t h s ; - n o r c an th e t h i r d f i n g e r be u se d a s t h e s h i f t i n g f i n g e r i n d e s c e n d in g from t h e c h o rd r o o t s .

(4) Some s e v e n t h c h o rd s have s e v e r a l s h i f t i n g s and comply w i t h ( I ) , (2) a n d ( 3 ) .The p r e f e r e n c e may b e ^ e r t h e one w h ich h a s a h e lp to n e t h a t i s a l s o a c h o rd t o n e .

(j-l)SEVENTH CHORDS o f t h e MAJOR MODE.( D ia to n ic p e r f e c t f o u r t h s h i f t s can n o t be made from t h e u n d e r s c o r e d

s c a l e n u m b ers . ) ( i n t h i s c h a r t t h e c o n v e n t io n a l sym bols w i l l be u sed f o r t h e s e v e n th c h o r d s . )

D escend ing A rp e g g io s .S c a le Numbers,

A scend ing A rp e g g io s .. S c a le Numbers.

I ---------7 t h 1 3 5 7I I ---------7 t h 2 4 6 1I I I — " 3 5 7 2IVV— « 4 6 1 3V -----" 5 7 2 4VI— - " 6 1 3 E)V I I — " 7 2 4 6

’E xam ples.

I ---------7 t hI I ---7 t hI I I — n IV-----nV—■— itV I-----nV I I — n

7 5 3 1 1 6 4 22 7 5 33 1 6 44 2 7 55 3 1 66 4 2 7'

J 4fir 1 jfJ Jjf iniJ i j Vlf II j4 4 3 1(3 H-4 llk.3 I A MU jzi 1 t5 ( /

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3 »XZ3 I 3 X 4 XZ 3

Z I IX IL X Z I 3 3 4 X X I 3 I I I

i 4 x x 3 i

f J - 2 ) SEVENTH CHORDS o f t h e HARMONIC MINOR MODE.( D ia to n ic p e r f e c t f o u r t h s h i f t s c an n o t be made from th e u n d e rs c o re d

s c a l e n u m b e rs . )A scen d in g A rp e g g io s . D escen d in g A rp e g g io s .

S c a le Numbers. 1 3 5 72 4 6 13 5 7 24 6 1 35 7 2 46 1 3 57 2 4 6

I ------7 t hI I -----nI I I — "IV ---------"V ------vVI ---------»V I I — "

S c a le Number's. 8 5 3 I 1 6 4 2

If;!4 2 7 5 5 - 3 1 6 6 4 2 7

u j - - T i ii *7y L ii *■»;. -...i —4% 3 13 4 33 X 4 1 3 XX t 3 I i X 1f43 k 3 I 33x 3 X 4 XX l

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W i l b u r ^ l i H u r 1 W i i i ii T i l I 1 e ' - o r i I”/ / - , » / u

.. ..., .H ■ a, ( _____ ______4 3 3 4 x x 4 3 XZl*- I 3 X2.4^2- 4 x 1 1 3 I 3 /

X I lx if X. >t | i f i 1 ar j r t j ^ p p T t r t i S

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(J-5)SEVENTH CHORDS OF THE MELODIC"MINOR MODE.( D i a t o n i c p e r f e c t f o u r t h s h i f t s can n o t be made from th e u n d e r s c o r e d

s c a l e n u m b e r s . )A sce n d in g A rp e g g io s o f th e D escen d in g A rp e g g io s o f th ea s c e n d in g s c a l e fo rm .

S c a le Num bers.d e s c e n d in g s c a l e fo rm .

S c a le Numbers.I —— —7 1 h 1 3 5 7 I —— —7 t h 7 5 5 1I I -----" 2 4 6 1 I I ——— " 1 6 4 2I I I — " 3 5 7 2 I I I — " 2 7 5 3IV-----" 4 6 1 3 IV-----n 5 1 6 4V-------n 5 7 2 4 V-------n 4 2 7 5V I-----n 6 1 3 5 V I-----n 5 5 1 6V I I — " E xam ples .

7 2 4 6 V I I — " 6 4 2 7

4 4-^3 4 3? %-443 1 3 4 3 1

If -z,Z I 3 4 ‘Z 443x, 4 %j

mI a i 1, i 3 z _

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sp l1 . . . J 11 1 - I ? "$4 3 3 4 ^ ' /i

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3 iV 4 I 3 3 1/ I 3

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i 3 ^ ' 4 ^ i i j i ' 33 4 J. I <» W3Oz

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^ ITHE MILDER MAJOR MODE.

i / X/2,

D e sc en d in g A rp e g g io s

( D ia to n ic p e r f e c t f o u r t h s h i f t s c an n o t be made frem th e u n d e r s c o r e d s c a l e n u m b e r s . )A scen d in g A rp e g g io s

S c a le N um bers.I ---------7 t h 1 3 5 7 I --------7 t h _I I --" 2 4 6 1 I I ------ " 1 6 4I I I — " 3 5 7 2 I I I — " 2 7 5IV -" 4 6 1 3 IV------" 3 1 6V ------- " 5 7 2 4 V ------" 4 2 7VI --" 6 1 3 5 V I------» 5 3 1V I I — " 7 2 4 6 V I I — " 6 4 2E x am p le s .

4. 1 >

S c a le Num bers. £ 5 3 1

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23

CYCLIC FINGERINGS FOR DIATONIC AUGMENTED TRIADS. ( A s c e n d in g . )

(k ) These c h o rd s f a l l on th e m e d ia n ts o f th e ha rm on ic and th e a s c e n d in g m e lo d ic m ino r s c a l e s . )

E x t e n t i o n s o f augm ented t r i a d s g iv e no p e r f e c t f o u r t h s .The f o l lo w in g exam ples u s e p e r f e c t f o u r t h d i a t o n i c h e lp t o n e s .Note d i f f e r e n c e s i n h e lp to n e s i n t h e two m odes.

Harmonic M ino r . (The d e s c r i p t i o n above e a c h s t a v e on p a g es 23S.-84 r e f e r t oi £FE : ao d e . ) H 3 ' ~ \ 4

1/A scending M elod ic Minor

^ - 4

1/ i2 /

3 ^ 3 ^

2 , l

a P t tH Z l , I 4 Ssn'O-ruu, %J Z I 3 3 \2, I

CYCLIC FINGERINGS FOR DIATONIC DIMINISHED TRIADf:. (A^r»Prri-?ng. )(L) These t r i a d s f a l l on th e s u p e r t o n i c s o f t h e h a rm o n ic ,d e s c e n d ]n m e lo d ic and th e m i ld e r m ajo r modes and on th e l e a d i n g to n e s o f t h e m a jo r ,a n d th e ha rm on ic and a s c e n d in g m inor m odes.

E x te n t i o n s o f t h e s e ' t r i a d s g iv e no p e r f e c t f o u r t h s .The f o l lo w in g exam ples u s e d i a t o n i c p e r f e c t f o u r t h s h i f t s .Note d i f f e r e n c e s i n h e lp to n e s in t h e s e v e r a l m odes.

M ild e r M a jo r .

E M i i t i g j ~ H H i t J t ag

ijt * 3M a jo r .

\ H- 3 1 % ^ 3 0/ 2. I 3 tV |

i $ t* f tj i k- 3 ‘ I H.if Z.Z I if3 3 % 3 z X/ I 3 z i 3 3

24

CYCLIC FINGERINGS FOR DIATONIC AUGMENTED TRIADS. ^D escen d in g .^ (m; See (K ). '

Harmonic M inor.

P -f mmit m¥// ' I a l n. 3 I if & t 3A scend ing M elod ic M inor.

t l 2 / t /y x so n u Z /»

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1CYCLIC FINGERINGS FOR DIATONIC DIMINISHED T R IA D S .(D e s c e n d in '. ) (N) See (L)

Harmonic M in o r .

cmJZs.

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6I i'h It 3 4

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HT| ! 1 3 3 $ 3

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O-AUGMENTSD AND DIMINISHED FOURTHS AS HELP TONES.Help to n e s a r e a b o m in a t io n s .H o w e v e r , th e s e n e c e s s a r y e v i l s have a d v a n ta g e s .

Among o t h e r s , t h e p l a y e r u s i n g them knows p r e c i s e l y w here t h e l e f t hand i s ? ( C a r l F l e s h i n nf h e A r t o f V i o l i n P l a y in g ”d e v o te s some colum ns t o h e lp t o n e s , w h ic h he d i v i d e s i n t o g e n e r a l t y p e s . F o r th e p u rp o se o f t h i s p a p e r t h e one t y p e a l r e a d y e x p la in e d seems a d e q u a t e . )

The c o p io u s exam ples th u s f a r have depended upon d i a t o n i c p e r f e c t f o u r t h s h i f t s ; - a n d th e y i n d i c a t e t h e c o v e ra g e and a d v a n ta g e s o f t h a t p r a c t i c e . The exam ples a l s o show t h a t t h e p e r f e c t f o u r t h a ^ s t h e , o n ly s h i f t t o e f f e c t c y c l i c f i n g e r i n g s l e a v e s much t o be d e s i r e d .B e c a u s e o f m e l o d y , i n d i v i d u a l s t r i n g s ’ to n e c o l o r e t c . , i t would seem d e s i r a b l e t o be a b l e t o s h i f t from any to n e o f a c h o rd o r s c a l e t o make t h e c y c l e . Two l i m i t a t i o n s ham per, -we have b u t fo u r f i n g e r s , - and th e s h i f t sh o u ld e i t h e r be d i r e c t - o r i f h e lp t o n e s a r e u s e d , t h e h e lp t o n e s sh o u ld be d i a t o n i c , o t h e r w i s e th e t o n a l i t y i s d i s t u r b e d , t 'o t h i r ^ can be done a b o u t th e f i r s t l im i t a t i o n .H o w e v e r t h e second one may be s a t i s ­f i e d i f two more s h i f t i n g i n t e r v a l s a r e a d d e d ; - e g - t h e augm ented and d im in is h e d f o u r t h s .

Augmented and d im in i s h e d f o u r t h s w i l l need d r i l l i n g w i th c l o s e a t t e n t i o n t o be b ro u g h t u n d e r m e n ta l c o n t r o l . P e rh a p s t h e b e s t way to d r i l l and check them i s w i th t h e v o i c e ( n o t t h e i n s t r u m e n t ) .

When a l l s e v e r a l f o u r t h i n t e r v a l s a r e u n d e r m e n ta l c o n t r o l , t h e p o s s i b i l ­i t i e s f o r c y c l i c f i n g e r i n g s o f d i a t o n i c s c a l e s and c h o rd s has o n ly t h e l i m i ­t a t i o n o f f o u r f i n g e r s . (T h is l i m i t a t i o n f o r s c a l e s was m en tio n ed i n _I. A s i m i l a r aw kw ardness a p p e a r s f o r a r p e g g i o s . )

The f o l lo w in g exam ples i n d i c a t e how th e a p p l i c a t i o n o f augm ented and dim ­i n i s h e d f o u r t h s h i f t s a d d s t o t h e p o s s i b i l i t i e s o f c y c l i c f i n g e r i n g s .

25

M ajor and Minor T r i a d s .

(A— augm ented s h i f t . ) (D— d im in i s h e d s h i f t . ) (P— p e r f e c t f o u r t h s h i f t . )

D ia to n ic S e v e n th C h o rd s .The u n d e r s c o r e d sym bols on p ages 2 0 ,2 1 and 22 a r e a l l u s a b l e a s to n e s from

w h ich s h i f t i n g may be done u s i n g d im in is h e d and augm ented f o u r t h s .P re d ic a m e n ts su c h a s t h e f o l lo w in g exam ple o f th e d o m in an t s e v e n th a r p e ^ ^ i o

o f D m inor o f f e r , a r e s o lv e d by u s in g augm ented and d im in i s h e d s h i f t s . (A rg u m e n t ; -F o r c y c l i c f i n g e r i n g s o f a s c e n d in g s e v e n th c h o rd a r p e ^ i o s th e f i r s t f i n g e r can n o t s e r v e a s a s h i f t i n g f i n g e r . In t h i s exam ple°one can n o t s h i f t from e i t h e r A o r E . — The s h i f t from C£ i s d im in i s h e d and th e s h i f t from G i s a u g m e n te d . )

26

P - AUGMENTED AND DIMINISHED FOURTH DIRECT SHIFTS.Augmented and d im in i s h e d t r i a d s w i l l c y c l e i f u se i s made o f augm ented

and d im in i s h e d f o u r t h s h i f t s .

Q- CYCLIC ARPEGGIOS AND SCALES WITH EMBELLISHMENTS.(Q - I ) a A u x i l a r y n o t e s above t h e f o u r t h f i n g e r and below t h e f i r s t f inger- a r e awkward i n t h a t t h e y have d i f f e r e n t to n e q u a l i t y t h a n th e p r i n c i p a l t o n e s and t h e y r e q u i r e r a p i d c h an g e s o f t h e b o w 's p l a n e s .

b The d i r e c t s h i f t s w h ich w ere l i s t e d f o r c y c l i n g t r i a d s need n o t be a f f e c t e d .

IiMjf|!m! cif!lIBISc A u x i l a r y n o t e s o f f e r some a d d i t i o n a l n o t e s from w hich t o s h i f t .

/ t x * 0 4 I ( 3)

d S c a l e c h a i n s o f a u x i l a r y n o t e s c o n t a i n t h e d i f f i c u l t y m en t io n ed i n a.,no m a t t e r where t h e s h i f t i s p l a c e d , i f c o n v e n t i o n a l f i n g e r i n g s a r e u s e d .

The f o l l o w i n g d e v i c e s o l v e s t h e p ro b le m .

27

3 4 3 3 * 3 33 i(Q-2) T r i l l s on c y c l i c a r p e g g i o s and s c a l e s have t h e same d i f f i c u l t i e s as a u x i l a r y n o t e s .

See ( 0 - I - a , b and c . )

(Q-3) A p p o g i a t u r a s .C h a in s o f —

I t i s sometimes c o n v e n i e n t t o s h i f t d i r e c t l y f rom a cho rd t o n e t o an a p p o g i a t u r a i n a r p e g g i o s w i t h a p p o g i a t u r a s .

± ■- < - 4— ' ' ! y — W------------------ ^ —it, S x I 4 3 Z , 3 Al * * I <5 / i * 4 I ^ Z S * i f

(Q-4) S u r r o u n d in g Tones g ro u p s a r e most e a s i l y done i f t h e f i r s t o r t h e second f i n g e r s t o p s t h e l o w e s t n o t e .

A s h i f t o f c f o u r t h i s c o n v e n i e n t t o c y c l e .

a P a s s in g n o t e s i n t r i a d a r p e g g i o s b e tw ee n t h e c h o rd r o o t and t h i r d and be tw een t h e c h o rd t h i r d and f i f t h do n o t need t o change t h e d i r e c t s h i f t f o r c y c l i n g .

P a s s i n g n o t e s may be s h i f t e d f rom i n o r d e r t o c y c l e a s i n s c a l e s . See ( I and O j . •

7 £ 2IS l l l s s s X i z £ ?%Sz 23S3

28

P a s s i n g n o t e s be tw een t h e c h o rd f i f t h up t o t h e r o o t and from t h e r o o t down t o t h e c h o rd f i f t h make h e l p t o n e s n e c e s s a r y t o c y c l e .

j ' - j 4 r r i M - i

i1^3 1X3 4 33x 4 I X3 Zll 2 4 I Z / 33%. 3 4 I

XXI 2 34 3 / » 3 1 Z,S -z, U.H 3 4 l Z t 3 * 2-331%. 3 ( 3 ^42.3 2- 2. 3 3 1 2 .

X H 2 . 3 W X

$3■XF4 3 2.xFx « 3 %24 3 I 3 2A4 3 X 4 X 113 X. I ' 3 I

4 3X11X4 3 X I 3 X 113 X 4 X I 4 3 %X |4 3 X | 334 3 X / 4 XX3 X I 4 33 4 XX t 4 3 1IX

Jb P a s s i n g t o n e s i n s e v e n t h c h o rd a r p e g g i o s can be managed l i k e s c a l e t o n e s i n s e c t i o n ( l ) .

( 0 - 6 ) Added T ones .The ad ded t o n e above t h e r o o t f o r a s i n g l e v o i c e p a r t i n a r p e g g i o

a r r a n g e m e n t i s t h e same f o r t h e v i o l i n i s t a s a p a s s i n g n o t e be tw een t h e c h o r d ’ s r o o t and t h i r d .

I n a r p e g g i o s t h e v i o l i n i s t w i l l s t o p t h e added s i x t h to n e a s th o u g h i t were p a r t o f a s e v e n t h c h o r d .

R-CYCLIC FINGERINGS FOR SCALES IN DOUBLE STOPS.Most c o n s i d e r a t i o n s o f d o u b l e s t o p s c a l e s f o r bowed s t r i n g i n s t r u ­

m en ts would e l i d e a l l e x c e p t t h o s e i n t h i r d s , s i x t h s , o c t a v e s and t e n t h s . However j i n t h i s d a y na n y t h i n g can h a p p e n ,rand p a s s a g e s may be e x p e c t e d i n s e c o n d s , s e v e n t h s and n i n e t h s j w h i c h , w i t h s c a l e s i n o c t a v e s , d o n o t l e n d t h e m s e l v e s t o c y c l i c f i n g e r i n g s s i m i l a r t o t h e t y p e s o f p ro b lem s a l r e a d y s o l v e d . Double s t o p s c a l e s i n f o u r t h s and i n f i f t h s w i l l c y c l e i f t h e d e v i s e o f e x t e n t i o n s , w h i c h f o l l o w s f o r t h i r d s and s i x t h s , i s u s e d .( R - l ) C y c l i c F i n g e r i n g s f o r S c a l e s i n T h i r d s and S i x t h s .

D i a t o n i c s c a l e s i n t h i r d s and i n s i x t h s w i l l c y c l e w i t h a s i n g l e s h i f t o f a f o u r t h i f e x t e n t i o n s a r e u s e d .

For t h e f o l l o w i n g example i n t h i r d s t h e hand r e m a in s i n t h e " s e c o n d p o s i t i o n nu n t i l t h e s h i f t a t S .F o r t h e f i r s t f i n g e r ’ s f i r s t n o t e t h a t f i n ­g e r i s e x t e n d e d b a c k w a r d s . ( T h e same manuever i s u s e d f o r t h e n o t e s g and b . ) The n o t e f i n t h e lo w e r v o i c e i s done w i t h t h e e x t e n d e d f o u r t h f i n g e r .

For t h e example i n s i x t h s b o t h t h e t h i r d and t h e f o u r t h f i n g e r s a r e

SUMMIT

The fingerings in th is th esis have the following advantages:

1. Biey permit cy c lic maneuvers by the octave.

2. The tone material covered includes diatonic scales and triad and

seventh chord arpeggios and th e ir embellishments and double stop diatonic

sca les . (The table of contents gives a complete descriptive l i s t . )

3. The number of sh ifts necessary for extended scale and arpeggio

passages of three octaves or more i s reduced to one sh ift per octave.

it. The variety of sh ifts i s reduced to the intervals of fourths,

with one exception.

5c Many tables or charts which show at a glance humerous cyclic f in ­

gering p o s s ib il it ie s are given.

6. The topics and problems are presented in order of progressive

d iff ic u lty . The f i r s t sections have suggestions for practicing which have

been found helpfu l. To keep within a reasonable bulk the la ter sections

have fewer examples; a lso , l i s t s of compositions in which the schemes would

be practical are e lided .

The f ir s t four above numbered items resu lt in much relaxation from

strain of memory e ffo r t; (2) le s s necessary attention to d ig ita l and l e f t

arm motions because these are fewer in number and sim plified as to variety;

(3) le s s effort of aural attention in measurement of sh ifts ; a lso because

sh ifts are le s s often used and are confined to fourths; a l l of which makes

for confidence, composure and sa tisfa c tio n .

Reducing the number and variety of motions at the same time reduces

the number o f possible errors and resu lts in greater precision and speed

and fin er interpretations„ •

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