Bases: Double steps and chord playing

Album with double step pieces and exercises for violin in the first position - chords

by Michael Palomino (1991)

				Page 2: double steps and chord playing, contents -- sources p.3 -- double steps with an empty string p.4 -- double steps in the first position, exercises p.7 -- double steps in the first position, peaces p.15 -- double steps in the first position, further exercises p.19 -- chords p.27
		Page 3: double steps and chord playing, sources Louis Metz: "Vioolmethode"/"Violinschule" Broekmans en van Poppel edition, Amsterdam 1964 Erwin Maurer: "Neue Violinschule" ("New violin school"), Emil Bauermann music edition, Leipzig Thonberg Josef Bartosch and Franz Huber: "Ich bin ein Musikant. Neue Violinschule" ("I am a musician. New violin school"); Doblinger edition, Vienna-Munich 1935 Hugo Seling: "Wie und Warum". Die Neue Geigenschule ("Who and why". The new violin school); C.F. Peters edition, Leipzig 1952		Ferdinand Küchler: "Violinschule" ("Violin school"); new edition by Isabel Pragel; Hug & Co. Zurich 1964 Willy Schneider: "Die Geigenfibel" ("Violin booklet"); Hug & Co. Zurich Enrico Polo: "30 studi a corde doppie" ("30 double step studies"); G. Ricordi, Milan 1950 Josef Schloder: "Das Geigenspiel" ("Violin playing"); Max Hieber music edition, Munich 1952 Robert Pracht: "Neue Violinetüden" ("New violin exercises"), book II; Wilhelm Halter music edition, Karlsruhe West xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Double steps with an empty string, double steps in a legato - exercises - peaces (Listen to the combined tones).
Page 4: Fifths, sixths, sevenths and octaves with an empty string, partly with legato (Metz, Maurer)		Page 5: Fifths, sixths, sevenths and octaves with an empty string, partly with legato, in a three voice choral (Bartosch-Huber)		Page 6: Seconds, thirds, fourths, and fifths with an empty upper string (Seling), three voice peaces "Chimes" ("Glockengeläute") and "Bluebottle" ("Brummer") (Bartosch-Huber)
Page 7: Sixths prepared by Legato. The sixths are going up and down step by step (Seling), or they are taken from a preparing octave (with an empty string), also on the E string (Küchler)		Page 8: Sixths are prepared by octaves (with one empty string), also on the E string (Küchler), or there are two sixths one above the other (one with an empty string), which are played one after the other (Bartosch-Huber)		Page 9: Sixths without empty string. Sixths are going up and down step by step (rows of sixths) and are in different keys in first and half position (Maurer).
Page 10: The peace by Schneider has got different double steps with introducing legato, inclusively unison. Finger position and position of left arm have to be adopted correspondingly (Schneider).		Page 11: The exercises above all consist of thirds and sixths, and the upper tone of the thirds is an empty string and the fingers are partly remaining on the string. Finger position and position of the left arm have to be adopted correspondingly (Seling, Maurer, Küchler).		Page 12: Thirds and sixths on all strings which come out as a result when the fingers remain on the strings, for example with an empty string (Küchler).
Page 13: E. Polo: Double step study no. 1 (Andante) from unisons up to octaves with many empty strings.		Page 14: E. Polo: Double step study no. 2 (Adagio) from seconds to octaves, there is hardly any empty string.		Page 15: Double step peace in the first position by H. Ries (slowly, from Maurer), by Franz Schubert (barn dance, from Schneider), and a choral (from about 1613, from Schneider).
Page 16: Wolfgang Amadeus Mozart, a Menuet with some double steps, and with a second part for the teacher, and a preparatory exercise by Schloder.		Page 17: Franz Schubert: Trio from a German dance with double steps, with a preparatory exercise by Schloder, and a Grave by B. Campagnoli, also with a preparatory exercise by Schloder.		Page 18: Menuet by Wolfgang Amadeus Mozart with double steps, and a trio from a Menuet by Joseph Haydn, both peaces have got a preparatory exercise by Schloder.
Page 19: Double step study no. 3 (Moderato) by E. Polo, with finger changes during legato strings, but other fingers remain on the strings.		Page 20: Simple double step exercise by Robert Pracht (Moderato, like march, Moderato)		Page 21: Double step exercises no. 4 and 5 by E. Polo with many finger changes during legato, but other fingers remain on the strings.
Page 22: Double step studies no. 6 and 7 by E. Polo, with many finger changes during legato strings, but other fingers remain on the strings.		Page 23: Double step study by E. Polo, no. 8		Page 24: Double step exercise by Robert Pracht (Allegretto, Allegro, Andante, Menuet)
Page 25: Exercises for independence of the fingers, but one finger always remains on a string ("kept" finger), in different positions. One can let play or remain the "kept" finger (Maurer).		Page 26: Double step study by E. Polo no. 9 in rows of thirds and sixths respectively there are third trills and sixth trills.
Chords: Exercises
Page 27: Preparatory exercise for three voice chords in a legato in down and up bow (Maurer)		Page 28: Three and four voice chords with the instruction for the execution with a grace note (Schloder), prelude with three and four voice chords (Mühlhölzl)		Page 29: Chord exercises on three and four strings after Ch. de Bériot in different keys (Küchler)
Page 30: Four voice chords, partly in high positions (Paganini, from Guhr)

There are 100s of more chord peaces, and it's also possible to compose some oneself. Consider the combination tones. The double steps and chords can also applied on the viola correspondingly.

Double steps with an empty string, double steps in a legato - exercises - peaces -- Chords: exercises -- Chord on the violin, on the viola or on the cello - and then also guitar playing will be easy

When the chords are going well on the violin or on the viola, and when the player has got big hands, so the conditions are also given for playing the guitar. When there is a flair for playing guitar, then this will go relatively fast and simply. When the persno can play violin, viola or cello and guitar, literature for violin, viola or cello can be also acompanied by guitar easily. The result will be violin lessons, viola lessons or cello lessons with a very special atmosphere with a plugged chord instrument which pleases well to the children becasue guitar provokes a relative fine, silky and soft atmosphere, but the impulse is always very precise as it would be a cembalo. Music with string instruments and guitar also can be well performed in the street (busking) or during events.

Photo sources
Back ground image with a school orchestra during rehearsal: http://www.shz.de/artikelbilder/bild/1/newsgalerie/2014262/796.html?user_dimbildergalerie_pi1[bildlistid]=1

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