SEVCIK Op. a Part 2 SCHOOL OF BOWING TECHNIQUE SCHULE DER BOGENTECHNIK ECOLE DU MECANISME DE L’ARCHET for VIOLA (ALTO) arranged /bearbeitet /arrangées by von par Lionel Tertis BosworthSEVCIK Op. 2 Part 2 SCHOOL OF BOWING TECHNIQUE SCHULE DER BOGENTECHNIK KCOLE DU MECANISME DE L'ARCHET for VIOLA (ALTO) arranged /bearbeitet /arrangées by von par Lionel Tertis Cover picture: an important viola by Giovanni Paolo Maggini, ¢.1600-1610, Photograph from Christie's of London. Bosworthwe Hoe LH * UH = wee Nos Moe Pos Mes noe Ma = Sa + ios y« Legato. ABREVIATIONS ET SIGNES Tout Varchet Moitié de Varchet Moitié inférieure Moi supérieure Un tiers de Parchet Talon de Varchet Milieu de Varchet Pointe de Marchet ‘Travailler de trois fagons: () du miliew de Parehet 2) dela pointe de V'archet (3) du talon de Parehet Tirez Poussez Soutenu. Tiré large, avec peu dinterruption entre les notes, particuliérement entre deux et plusieurs notes sur un archet. Staccato. ‘Travaller sépa- rément avec beaucoup et peu archel et, jouer court; Iais- ser Parchel eur la corde lore- qu'il y 42 ou plusieurs notes a Parchet, Martelé. Coups d’archot de Parchet cur la corde. Sautillé. Archet jeté ou ‘sautllé avee deux ouplusieurs notes & Varchet. Spiccato Tris peu darchol, cen levant Yarchet de ta corde pris chaque note. Lever Parchet de Ia corde. Liaison souple de note & note aveo pression réguliére de Parchet ou en pressions variée A défaut de ce signe audi but un exercice, commen- cor parle tiré aw talon, B.& Co.Ltd. e102 ABREVIATIONS AND EXPLANATIONS W = Whole length of bow Ho = Half length of bow LH + Lower half of bow UH = Upper half of bow YB = Third of bow N = Nut-end (Heel of bow) M_ = Midate of bow P= Point of bow M* = Practise in three ways: (in middle of bow (2) at the point (3) at the he = Down bow ined - may also be interpreted as broad and cus- ‘tained with elight detachment between nolesyespecially with {two or more notes in camebow. + = Staccato ie, Articulating each note separately and short, whether short or long bows, or articulating two or more notes in same bow with bow on stri Ma = Martelé ie, detached ac - centuated separate bows with bow on string. Sa = Sautillé i.e, springing or bounding bow with two or more notes in same bow. 4s Spiceato fa, extremely short bow with bow off the string after each note. ) = Bow to be raised from the string. Legato, ie. smoothly or well-bound from one note to another— with even presoure of bow ‘whether played forte or piano or with various shades of ex- pression. = Erthere is no sign at the be- ginning of an exercise, begin the first note at the heel with down bow. = a Las on ye a . 4 Mee ne ve — sa = ABKURZUNGEN UND ZEICHEN Ganzer Bogen Halber Bogen Untere Halfte des Bogens Obere Hilfte des Bogens Bin Drittel dee Bogene ‘Am Frosch des Bogens Mitte des Bogens Spitze dee Boge: five in drei Arten: ) mit der Mitte des Bogene (2) mit der Spitze des Bogens (3)am Frosch des Bogens. Abstrich, ‘Aufetrich Gehalten. Wird breit gezo- ‘gen, mitgeringenTrennungen zwischen den Noten gespielt, besonders bei zwei und mehr Noten auf einem Bogen. Staccato. Sowohl mit viel als wenig Bogen getrennt und kurz 2u spielen; bei zwei und mehr Noten auf einem Bogen bleibt der Bogen auf der Saite. Martelé. Getrennte, akzen - tuierte Bogenstriche, wobei der Bogen auf der Saite bleibt. Sautillé. Springender oder geworfener Strich mit 2wei ‘oder mehr Noten auf einem Bogen. Spiccato. Sohr kurze Striche, wobei der Bogen na Note von der Suite gehoben rd. Bogen von der Saite heben, . Geschmeidige Bindung von Note zu Note mit gleichenie ‘gem Bogendruck oder in ves irkegraden. ses Zeichen nicht am Anfang einer Ubung steht, boginnt sie immer am Frosch im Abstrioh.DEUXIEME PARTIE (Cahier Ii) EXEROICES POUR LE DEVELOPPEMENT DE LA SOUPLESSE DU POIGNET Exercice No.29 a jouer dans les 575 différents coups @archet. SECOND PART (Section III) BXERCISES FOR DEVELOPING SUPPLENESS OF WRIST 29 Exercise No.29. Practise in 675 different ways of bowing. 3 2, TELL (Abschnitt IIL) UiBUNGEN FUR DIE ENTWICKLUNG DBR BIEGSAMKEIT UND (GESCHMEIDIGKEIT DBS HANDGELENKS, Doung Nr. 29 ist in 876 verschiede- nen Stricharten zu spielen. 575 Exemples Variantes sur Pexemple précédent. ‘Tout Varchet. 675 Examples Variantes on the foregoing ex- ample. Whole bow-length. 675 Beispiele ‘Varianten des vorhergegangenen Beispiels. ‘Mit ganzem Bogen. ° Moitié de Parchet. wy Hoo Diabord avec la moitié i 3y Hoo Half bow-length. 19 fricure, ensuite avec Ia moitié supérieure de Varchet First with lower, then with upper half of bow. ‘ZQuorst mit der unteren, dana mit, ‘oberen Halfte des Bogens . Mit halbem Bogen. 20, a 7H 55 on Copyright 1958 by Bosworth & Co.Ltd., London ‘Made In England B.&Co.Ltd.21602>4 ‘Tout Farchet et moitié de V’ar - ‘Whole, and half bow-lengths. ‘Mit ganzem und chet. (mets. J a sa w oun ow Lt w Uh WiLh LH Ww UH W LH W UH Ww Middle of bow. Legato (ntetr. wd =¢0, »d=02) 58 > i 54g w w ye Ey (mets. Jao, J-o2) 9 ~~ e- Xf w OF W LH W UW W Wh W UK w tH WwW OO W LH an om ta ehOn LHW UH Ww cERi", oe 8 eA Eee seiee wotOWw ww ww 0 — B.& Co.Ltd. 2160898 a eae aes n 5 tet eet 71 teks ww ww UHW LH W UHUHW LH Ww UN UHW LH WwW Un Staccato, pg tstedom. 45 e100 ayy 1A oy wow wow Ww w w we 108 105 106, 102 No wow ww wow Ww W Ww ww w MO TAM te BT 5 6 tT 8 w Ww w WW ww WW ww w Ww 19 ——~ 120 ——~ 424, 122 128, — 124 SS 1 SS 126 ——~ 21 w w w w w HH OW w w 8 ae se ie Fay aN yest Erte Spee ee peepee eee Avec un tiers de Varchet. | With third of bow-length. | Mit einem Drittel des Bogens. 8. gees f m* wr Me Me Me Mr 185 4146, sar 198, 409 450, Me B.& Co.Ltd. 21092"“GB 4B ue Me Employez le poignet. ! gi Met J-100) Use your wrist. | Mit dem Handgelenk. ReaSSS we ie (stetr, d=t0a) 284, Bit a0 8 oe Boe Me ie B.A Co.Ltd. 24 292 oes aaa 285, uw ro Me Meer>>> >> Ww w Ww Ww Employes trés peu @archet. | Use very little bow. | Mit sehr wenig Bogen. (ete, Jerz0, Jasaay 264, 268. 260) > B.A Co.Ltd. 21092"8 Legato zg (Metr. Jane, Jg3, desos, J ce" Employez trés peu d’archet. | Use very little bow. sto { fetr. J = 144) 34 ee Sees "ss " oer SEE EES ie = ie i a Staccato aegis nae) = ine ite ite ie B.& Co.Ltd, 21092Employez le poignet. ‘Use your wrist. | Mit dem Handgelenk. (Metr. J 420) 348. Mit Bel gel tes = cede fp Sesn abe ts > > a> e> 397 MF ‘simile Me ra ro (ater, Jato, Jemma) 5 y one a ae N w P wt NW POW B.& Co.Ltd. 21092B.&Co Lid.2tena"‘Staccato aL Mets. J= 00) , agg te re OTN, A088, ay we Me ro me We me we ro = am a7, A738 Gis 8 case x sz Ne => N w oP w oN w Spiccato Gite deze, Jessa, J-100) 476 Mir, a AB, AM, yy 480 eee; Ber ee sy ys 580 ss ats om Mt M M soit 120) 88 soy, B.&Co.Ltd.2to9213 30 Exercices pour passer une ou Exercises for skipping over one Ubungen fiir das Uberspringen deux cordes. or two strings. einer oder 2weier Saiten. Exemple avec 190 variantes Example with 190 Variantes Beispiel mit 190 Varianlen 4 ° 190 Bxemples 190 Examples 190 Beispicle Tout Parchet. ‘Whole bow. Mit ganzem Bogen. A (ets. J= 00) z 8 Moitié de Varchet. Half bow. | Mit halbem Bogen. 15 (Metr. 4 416 a7 48 49H |. 20)... Tout Varchet et moitié de Parchet. | Whole and half-bow. | Mit ganzem und hatbem Bogen. golMetr. J= 60) _ _ 3 32 88 Le milien de Yarchet. | Middle of bow. Mitte des Bogens. suetr. J-00) 40 Map 4e_ a3 a a5 B.&Co.Ltd.esco2>AN, wep, w 92h P, jw 938%, w Martelez lorsque vous employez | Martelé when played at point of | Martelé, wenn mit der Spitze des la pointe de Parchet. bow. Bogens gespielt. oagifet J-80) ose 1% o7 Mx 98 Me Employes trés peu @archet. | Use very little bow. | Mit sehr wenig Bogen. 105 (MetrJ=00, J 106M" = 407M 408 Mie B.&Co. Lea. 240515 Employes le poignet. Use your wrist. Mit dem Handgelenk. (Mets. J = 100) Me M6 M4 7 we as aot martelé soqh* Me me : Ere Shae SEES ORES Se Ww Spiccato (metr.Ja120 J-1s0 J.70) AASM (PD + 196, 47 48 NYT? Ny ge ETT B.&Co.Ltd.24184 182, 188, AB reNee?T & u 135( mets. J 492) 4186 187 488 a Pr = iw ey sa can Thiaiaa tae traaaa Taig m + =! B.uCo.Ltd.216020DEUXIEME PARTIE (Section IV) ARPEGES SUR LES CORDES Exercice No. 81 —Ne pas oublier! Il faut jouer tout Pexercice selon chaque exemple de coup darchet indiqué. SECOND PART (Section IV) ARPEGGIOS OVER TWO SSRINGS Exercise No.3! To remind! Bach example of bowing must be played throughout the whole ex - excise. a7 2. TEIL (Abschnitt IV) ARPEGGIEN UBER 2 SAITEN Uoung Nr-81, Zur Beachtung ! Die ganze Ubung ist in jeder Strichart au spielen. tp tet : SS SS SSS a S= Sete : saote— oe =] ——— = =a B.& Co.Ltd.z100218 No.8 Allegro (J-ss2) . . Moderato (J (= 152) g wy 3 + 9 a 410 wy MM a 12 ve Ree aa ‘ 4 kt — ~ “ No.4 Allegro (J - 116) 2 a Allegro (dw) = Moderato go) oa Me ite ii* me Me 8 > a= 9 Moderato). 120) aot at 13 aa fm = + = + A N q u No.6 Allegro (D198) a a ete. ==] Avec les coups darchet de 1h14 duNo.. | With the Bowing shown in}tol4 of NoS. | Mit denStricharien der Belspele 4 der ing Ni5. No.7 Allegro (2).132) =a ” é A — Beals Bt Co.Ltd.24002Moderato «J oe) Hal Noo 9 Allegrotd 8) gaa erittesrts x No.8 Allegro 2-182) pan Adee aoa a a ete. Avec les coups darchet de 112 du No.7, | With the bowing shown int to 12 of Now? | Mitden Stricharten der Beispiele M12 der foun No.10 Allegro (152) cee ideas aa a a Ge eee ee. ee. Loof- Avec les coups darchet de 1314 No1O. | With the bowing shown in! tol46f.NolO. | Mit den Strcharten derBeispiele 1-14 der tb tibung No.10. No.12 Allegro iJ-120 em e at a we zie GES SEES Se GES Pee ees Paes ce s Sp > gtd =me) a (t= 104) Wisee eeelaee ce Z eberssiesree eS e SS eS Ss eeoraee ie No.13 Allegrotd .120) No. 4 Allegro - = = a4 a atte: aa 2; ptt eet ee| Feet SSS ESS ESS bes bee Eee Ee Avecles coups darchet de 13 0 du No.I2, | Withthe bowing shown Into 6 of N12.) Mitden Stricharten derBeispiele1-0 der Ubung Nrl2. No.15 Allegro (120) No.16 Allegro 120) No.7 Allegro J-s0) ee ‘ aa _getes Avec les coups darehet de14 6 du No.5. | With the bowing shown in to 6 of No1S. | Mit den Sticharten der Beispiele-6 der Ubung Nr B.& Co.Ltd. 21602520 32 Exercice No.82_ le iF et le 2€ Exercise No 82 both 4 and 2 Ubung Nr.32 (4) und (2) ist in doivent atre joués tout deux | to be practised in 58 different | 68 verschiedenen Stricharten au selon les 68 exemples de coups | ways of bowing. spielen. d@archet. Allegro moderato > (2) = B.aCo.Ltd.2¢a02Employez le poignet. | Use your wrist. | Mit dem Handgelenk. gsModeratod.m) a6 a = = a Fees Boe Leo ue me us Allegro (J.s20) 40n - Mya = ieiSeF a eet ee eS eee adden zRi B.& Co, Lid. 24092 2R 485 ce Me sethaagy ™ ™ M goer?22 33 Exercice No.83 (1), (2), (8) et (a) | Exercise No. 88 (4),(2),(8) and (4) doivent étre joués selon les 7 | to be practised in 75 different exemples de coups @archet. ways of bowing. zu spielen. Dbung Nr. 83 (4), (2),(8),(4) ist in 75 verschiedenen Stricharten Allegro moderato Sas (1) crept re: ra Lefer ttettte Fagses fat oF 08 080 O90 F0%0 O80 080 OF Aye 2 oe 0%s™ 0% O"O™ awe alte Bite Co. Lid.2t6o2>23 B.& Co.Ltd. 210920Me me we Me i i Allegro (J-s0) 54 55, 56 Moderato (J.00) 59m Y. 60y ve i Moderato (J..0) eerie feel34 * Exercice No.34 avec 31 exemples Exercise No.34 with 31 examples | Ubung Nr.34 mit 31 verschiede- de coups d'archet. of bowings. nen Stricharten su spielen. Jouez tout Yexercice selon chaque | Each example to be practised | Die ganze Ubung ist in jeder exemple. throughout the whole exercise. | Strichart zu spielen. Allegro moderato ate 2 ge: 2 jefe ne efeie oo St exemples de coups Warchet. | 31 examples of bowing. | 31 verschiedene Stricharten. des) S ‘pica us . N B.& Co. Ltd.240126 Exercice No. 36 avec 23 exemples de coups darchet. Jouez tout Fexercice selon chaque exemple. 35 Exercise No.25 with 23 examples of bowing. Each example to be practised throughout the whole exercise. Foftef pe enetes bung Nx 95 mit 23 verschiede - nen Stricharten. Die ganze Ubung ist in jeder Strichart 2u spielen. detaia® ° © 0 of0 Aotosoy o oo oo ay ts = i i ba 8 #,°= 2 tel 0>-p-pe @ i Pet et=cecp eaten Zeta! Fel ef 29 dem Handgelenk. it Mi | ist. Use your wr t. igne Avec le poi Bite Co. Ltd.2tco2®30 tag(J-90)_ mt 27 wore Ebesd GS Ee Staccato agate Spiccato gaq{tetr. d= 100) sa ety d= 198) B.teCo.Ltd.2t692b Printed in Great Britain\VIOLA WORLD, PUBLISHERS OF MUSIC FOR THE SERIOUS VIOLIST Studies ARNOLD, Alan 3-Octave Scales & Arpoggios BLUMENSTENGAL, A. Viola Seale Technique BI - 1st Pos. Viola Scale Technique Bk 2-1-5 Pos HOFMANN, Richard Melodic Double-Stop Studies Op. 96 TARTINI, Giuseppe The Art of Bowing Viola Solo ARNOLD, Alan Cadenzas for Telemann Viola Concerto KREISLER, Fritz Recitative and Scherzo Caprice WOERR, Christian Bchiena ARNOLD, Alan ‘The Young Violist Bk. 1 (easy pieces) ‘The Young Violist Bk. 2 (more pieces) BACH, JS. Basic Bach (ar Amold) BEETHOVEN, Ludwig van Beethoven's Best (arr. Arnold) MOZART, W.A, ‘Mozart Miniatures (arr. Arnold) Viola & Piano Repertoire BACH, 5S. Bourée in C minor Chromatic Fantasy and Fugue BEETHOVEN, Ludvig van For Elise BENJAMIN, Arthur Jamaican Rumba ‘BOCCHERINI, Luigi asic Box Mintet BOHM, Car! Sarabande BOROWSKI, Felix ‘Adoration BRAHMS, Johannes Scherzo CHOPIN, Frédéric Nocturne CORELLI, Arcangelo Sarabande, Giga and Badinerie Sonata No,12 = La Fe \Variazione Available from: DANCLA, Charles Camival of Venice DE BERIOT, Ch, Soine de Ballet DEBUSSY, Claude Gir with the Flaxen Hair La Plus Que Lente DVORAK, Antonin Romance Op. 11 Sonatina Op. 100 FAURE, Gabriel Fantasie FIOCCO, Giosetfo-Hectore Allegro FRANCOEUR, Fransois ‘Sonata in. A GLUCK, Christoft W. von Melody from Orfeo ed Euridice HANDEL, GF. Bourrée Concerto in B flat Sonata in B fat Sonata in D HUBAY, Jené Hoje Kati JENKINSON, Ezra Elves Dance (Eentanz) JOPLIN, Scatt Pineapple Rag Solace AREISLER, Fritz Liebestreud Liebesleid Praeludium and Allegro Sicilienne and Rigaudon MASSENET, Jules ‘Meditation from Thats MATTHEWS, Holon Fantasy ‘MENDELSSOBN, Felix Sonata in E fat MOZART, W.A. ‘Adagio K261 ‘Menuetto Divertimento K.334 Rondo K.250 Serenata Cantabile MUSSORGSKY, Modest Hopek NOVACEK, Ottokar Perpetual Motion PAGANINI, Niccold Six Sonatas Bk. 1, Nos 1, 2,3, ‘Six Sonatas Bk. 2, Nos 4, 5, 6 Variations on the G-String PUGNANI, Gaetano Gavotta Variata Bosworth RACHMANINOFR, Sergei Vocalise RIES, Franz Perpetuum Mobile RIMSKY-KORSAKOV, N, Flightof the Bumble Boo SCHMIDT, Brust Alla Turca SHUBERT, Franz The Bee TARTINT, Giuseppe Sonata angelique The Devils Tall TCHAIKOVSRY, P. Caraonetta June Barcarlle Maodie Sérénade mélancholiqne Valse sentinentele VITALI, Giovanni Chaconne VIVALDI, Antonio Sonata in G WEBER, Carl M. ‘Andante and Hungarian Rondo WIENIAWSKI, Henryk Légende Scherzo Tarantella Viola Duos BACH, J. S. Fifteen Two-Part ventions MOZART, W.A uo Sonat in B flat K.292 ‘Twelve Duets K.487 3 Violas & Piano PACHELBEL, Jobann Canon 4 Violas ‘TELEMANN, Georg Philipp Concerto No. | in € for 4 Violas Concerto No. 2 in G for4 Violas Concerto No. 3 in F for 4 Violas Concerto No. 4 in D for Violas 4 Violas & Piano ‘VIVALDI, Antonio Concerto for 4 Violas and PianoThe Work of OTAKAR SEVCIK VIOLIN LITTLE SEVCIK, Elementary Tutor SEVCIK SCALES & ARPEGGIOS HOW TO PRACTISE SEVCIK’S MASTERWORKS, INTRODUCTION TO SEVCIK VIOLIN STUDIES from Op. 1 (by K. W. Rokos) For More Advanced Pupils OP. 1. SCHOOL OF VIOLIN TECHNIQUE. Part 1. Exercises in the 1st Position. Part 2. Exercises in the 2nd-7th Positions, Part 3. Exercises in Change of Position. Part 4. Exercises in Double-Stopping, Triple. Stopping, Quadruple-Stopping (3 & 4- part chords). Pizzicato, Flageolet Tones, Harmonies. OP. 1. Complete, bound in Cloth. Development of the Right Hand OP. 2, SCHOOL OF BOWING TECHNIQUE. (4,000 Exercises in Bowing) Parts 1-6 Exercise Themes to Op. 2 OP. 3. 40 VARIATIONS Piano Accompaniment (optional) OPS. 2 & 3, Complete, bound in Cloth. Development of the Loft Hand OP. 6. VIOLIN METHOD FOR BEGINNERS, Parts 1-6. 1st Position. Part 6. Studies Presaratory to the verious Positions. Part 7. th Position and combining the various Positions. OP. 6. Complete, bound in Cloth. For Slightly Advanced Pupils OP. 7. STUDIES PREPARATORY TO THE SHAKE & DEVELOPMENT IN DGUBLE-STOPPING. Part 1. Exercises in the 1st Position, Part 2. Exercises in the 2nd, 3rd, 4th, 5th & 6th Positions. OP. 8. CHANGES OF POSITION & PREPARATORY SCALE ‘STUDIES. In Thirds, Sixths, Octaves, & Tenths. OP. 9. PREPARATORY STUDIES IN DOUBLE-STOPPING. In Thirds, Sixths, Octaves & Tenths, OPS. 7, 8 & 9. Complete, bound in Cloth. VIOLA Arranged by Lionel Tertis, OP. 1. SCHOOL OF TECHNIQUE. Part1, Exercises in the Ist Position. Part2. Exercises in the 2nd-7th Positions. Part 3/4. Exercises in Changes of Position & in Double, Triple & Quadruple Stopping, ete. OP. 2. SCHOOL OF BOWING TECHNIQUE. Parts 1, 2&3. OP. 3, FORTY VARIATIONS (arr. Margaret Major) Piano Accompaniment (optional) OP. 7, PREPARATORY STUDIES TO THE TRILL Part 1. arr. Alan Arnald; tet Position Part2, 2nd-6th Position. OP. 8. CHANGES OF POSITION & PREPARATORY SCALE STUDIES. OP. 9. PREPARATORY STUDIES IN DOUBLE-STOPPING (arr. Alan Arnold) CELLO OP. 1. THUMB PLACING EXERCISES. Part 1. 1st Position (art. W. Schultz) OP. 2. SCHOOL OF BOWING TECHNIQUE. (4,000 Exercises arr. Fevillard) Parts 1-6. OP. 3. FORTY VARIATIONS (ar: Feuillard) Piano Accompaniment loptional) OP. 8, CHANGES OF POSITION & PREPARATORY SCALE STUDIES. In Thirds, Sixths, Octaves & Tonths (arr. H. Boyd) BOSWORTH 14/15 Bermers Street, London WAT 3LJ Distributed by: Music Sales Limited ore Newmarket Road, Bury St Edmunds, Suffolk 1P33 378 18BN 978~1-84609-017-2 (nn ‘Order No: BoE 003918